07 catalogue - Deejayladen

Transcription

Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK1 1DQ
Official Marshall website: www.marshallamps.com
CATS-00120
Whilst the information contained herein is correct at the time of publication, due to our policy of constant improvement and development,
Marshall Amplification plc reserve the right to alter specifications without prior notice.
from
Jim Marshall
Welcome to the latest Marshall Product Catalogue. It’s certainly been another
busy year at the factory and we have a number of new products to show you
throughout these pages. People often say to me, “Jim you should start taking it
easy”, but, if truth be told, I am enjoying my time at the factory as much as
ever! I thrive on the busy atmosphere and tireless enthusiasm of my loyal
workforce. Wild horses couldn’t drag me away!
I am proud to introduce two new valve ranges which I believe will become the
new benchmark, not only for Marshall, but for the entire amplifier market.
The first is the JVM, a four channel monster with three modes on each channel.
Never before has the guitarist had such versatility from one amplifier. The EQ
section is one of the most responsive I have ever heard and the tone, as
always, is unsurpassed.
The other new range, the Vintage Modern, has received incredible reviews
from the press and many guitar players. The tone compliments those
classic Marshall players, but also adds the modern touch with the detail and
body features that really make the amp roar! It’s testament to the Design team
that players old and young are getting such pleasure from using the
Vintage Modern.
I have also been working closely with two friends and fine ambassadors of
Marshall Amplification, Kerry King of Slayer and Zakk Wylde from Ozzy
Osbournes band and his own Black Label Society. The 2203KK is a Kerry King
signature head. Kerry has used a JCM800 for as long as I can remember and
his thunderous tone is renowned within the heavy metal world. By adding the
‘assault intensity’ circuit we have matched the sound of Kerry’s golden amp
nicknamed ‘The Beast’. Kerry has already toured with three of the heads and
the cosmetics of the amplifier match one of Kerry’s custom tattoos.
When I heard Zakk was using the MG15MSII Microstack in his dressing room,
I just had to design one for him with a bullseye front panel and Vintage fret
cloth. Zakk loved the little amp and I’m pleased to announce that it is now
available to all Marshall and Zakk Wylde fans alike. Of course, both Kerry and
Zakk enjoyed some Marshall hospitality during their input on the projects.
Over 44 years we have earned the reputation for being the foremost
manufacturer in guitar amplification. My UK-based Research and Development
team are guitar players themselves and fully appreciate not only what makes
an amp technically good, but also what makes an amp ‘feel’ good.
Although expertise and excellence in design and manufacturing are essential,
the real secret of our success is simple – we listen. Not only do we spend
countless hours listening closely when developing a new product, we also
listen to you the customer.
As I always say, it is by understanding what you need and expect from us in
terms of features, tone and flexibility, that our products have remained clear
leaders. I sincerely hope you enjoy reading this catalogue and that you will very
soon become a part of the ever-growing Marshall ‘family’ of players from all
over the world.
Dr Jim Marshall OBE
Picture: Dr Jim Marshall OBE and daughter Victoria (Managing Director)
1962
1966
1975
1981
1987
1990
JTM45
Model 1959
Master Volume
JCM800 (2203)
Jubilee Series (2555)
JCM900 (4100)
The History. . .
The Jim Marshall Story
With virtually no formal education behind him due to childhood
illness, Jim Marshall began work at the age of 13 in 1936.
During a succession of jobs with little or no prospects, Jim had
started tap dancing and later singing with bands in the evenings.
His natural talent for music further shone after he took over on the
drums when the band’s original drummer was drafted.
It wasn’t long before Jim found himself with regular work as a
drummer. In 1947 he began studying with the highly respected
drum teacher Max Abrams and by the early 1950s Jim had turned
professional. He became highly sought after as a drummer, led his
own band and was a highly successful drum teacher.
Jim’s success continued and by 1960 he had opened the first Marshall
shop, initially selling drums. However, due to popular demand he was
soon stocking guitars and amplifiers. By listening to the guitarists
coming into the shop, Jim realised that they required a sound that
wasn’t on the market at that time. With the aid of several engineers in
1962, after months of trials, the first Marshall amp was born and was an
instant success. Jim designed and built the matching speaker cabinet
and the rest, as they say, is history.
In the Beginning . . .
There was the JTM45 which was first unveiled in 1962 at Jim
Marshall’s music shop in West London. At that time, rock guitar
playing as we now know it was very much in its infancy and players
were constantly looking for new ways to redefine their tone. It
quickly became clear that the JTM45 was the perfect amplifier for
the task at hand! While it was capable of providing plenty of ‘clean’
power, the JTM45 also did all kinds of wild things when turned up all
the way. This was just what legendary rock ‘n’ roll pioneers like
Pete Townshend were looking for.
By 1965 it was Pete Townshend’s need for greater on-stage volume
which inspired Jim to build the first ever 100 Watt Marshall guitar
head. The Who’s guitarist also wanted bigger cabinets and, as a
single 8x12" cabinet (Pete’s original request!) proved to be totally
impractical, Jim came up with the idea of ‘stacking’ two 4x12"s, one
on top of the other. And that’s how that irrefutable icon of rock
amplification, the ‘Marshall Stack,’ came into being.
The fact that so many legendary guitarists from that all-important era
of the late ’60s/early ’70s, chose Marshall as their backline was no
accident. These players all had their own distinctive style and each
one was complemented perfectly by the dynamics and feel that the
Marshall 1959 Super Lead ‘Plexi’ amplifiers offered. This was
personified by the late, great, Jimi Hendrix who created sounds
through these Marshall amps which had never been heard before
and arguably, have never been matched since.
The Next Stage
As rock guitar playing evolved, Marshall continued to successfully
create new amplifiers that offered exactly what players were looking
for. In 1975, the first Master Volume (MV) amps provided a higher
level of distortion than ever before and also did so at a much more
controllable volume. This breakthrough was exactly what many
guitarists of that era were looking for.
By the time the ’80s rolled along, the MV species had evolved into
the JCM800 Series. The unmistakable roar of these amps, which
shaped the tone of that decade, is still favoured by many of today’s
cutting-edge guitarists such as Kerry King of Slayer and Zakk Wylde.
The JCM800 family also featured more flexible models with
switchable channels and built-in reverb.
As increased gain became the order of the day, Marshall launched
its Jubilee amplifiers in 1987. This no-nonsense, superb sounding
amp became the firm favourite of Slash of Guns ‘n’ Roses fame and
was later re-issued in 1996 as the limited edition Slash Signature
amp. As the ’80s gave way to the ’90s, players demanded even
greater flexibility and gain levels from their amps. Marshall, of
course, responded in a timely fashion with the JCM900 Series, the
30th Anniversary amps, the best-selling Valvestate line and the
‘industry standard’ JMP-1 MIDI pre-amp. These products delivered
exactly what players needed and took centre stage for much of
that decade.
Right Here, Right Now. . .
Recognising that today’s guitarist demands a high level of versatility
while still craving Marshall’s now legendary, valve-driven tone, we
launched the JCM2000 Series in the late ’90s. This strong line of
all-valve heads and combos offers both the tone and flexibility that
players such as Jeff Beck and Gary Moore demand . . . and
countless others too.
We also took hybrid amp technology to new heights with the release
of the AVT (Advanced Valvestate Technology) line of amps, which
successfully blend our valve expertise with digital effects and
cutting-edge solid-state power amp circuitry that emulates the
sound and feel of a valve power stage. The result? A flexible and
affordable alternative to all-valve amps which opened the Marshall
door to the next generation of guitar greats.
Fully understanding that guitar players on a budget, or that are just
starting out, deserve the best possible tone and features at an
affordable price, we launched our new MG Series. This
award-winning range of nine combos and a head redefined what
players can expect from inexpensive amplification.
Continuing our policy of listening to the needs of today’s guitar
players has led to the creation of the Mode Four. Attitude, striking
looks and above all incredible power set the Mode Four and its
matching cabinets apart. Combine this with an arsenal of great tone
and features, delivered through state-of-the-art technology and you
have a Marshall like no other that has already won awards and a
host of converts.
Due to overwhelming public demand, in 2004 we launched the
first two models in our brand new Handwired range, the 1974X
and 2061X. This was followed by the much-anticipated 1959HW
in 2005 and the limited run of JTM45/100 heads made to
celebrate the 40th Anniversary of the now iconic Marshall stack.
The Handwired range is an ongoing series of meticulously
accurate, handwired re-issues of classic Marshalls from
yesteryear, including the SUPER 100JH Jimi Hendrix stack.
Reviewers and users alike are unanimous in their acclaim of our
point-to-point perfection.
Back to the Future . . .
Continually evolving as a company, 2006 saw the launch of the
Vintage modern range. As the name suggests, the amplifier
combines everything you would hope to find in a Vintage Marshall
but with a modern twist. The detail and body functions interact
with the guitar like no other amplifier on the market.
New for 2007, the JVM series is a 4 channel 100 Watt beast.
Each channel has three modes, giving guitar players the
versatility and tone they have always craved while setting a new
benchmark. With a programmable footswitch included, the
Marshall R&D team have yet again excelled themselves, mixing
classic design with the latest technology.
From the complete beginner to the experienced professional,
there’s a Marshall for you.
The Story Continues. . .
2
1992
1997
2000
2006
2006
2007
30th Anniversary (6100)
JCM2000 (DSL100)
VS2000 (AVT50H)
Super 100JH (Hendrix)
Vintage Modern
JVM Series
3
ROLL of HONOUR
Slash
Angus Young
Dave Murray
Janick Gers
Paul Weller
Peter Frampton
“I’ve said it before, and I’ll say it
again: I won’t even consider trying
anything else – something that
consistent you just don’t f**k with.”
(AC/DC)
(Iron Maiden)
“What’s my secret weapon? Well,
aside from sheer volume (laughs), I’d
have to say my Marshalls, because
they’re really great for what I do.”
(Iron Maiden)
“I can make my Marshall go from a
screaming loud tone to a beautiful
clean, warm, bassy sound with a
mere flick of a pick-up switch.”
“Bought my first 100 Watt Marshall stack in
the ’60s and I have never found anything
that comes close. Marshall is my sound.
From The Herd, through Humble Pie to this
day. I’m a Marshall lifer!”
“I’ve experimented with different makes
of amp but came to the conclusion that
the Marshall 100 Watt stack was the
best rock amp.”
“They are simply the best, most solid
sounding, dependable and toughest
touring amps in the world!”
Jeff Beck
Zakk Wylde
Lemmy
Dave Mustaine
Eric Johnson
Ace Frehley
“The Marshall sound is the balls.
It’s the big daddy and it has that
growl that no other amp has.”
(BLS, Ozzy Osbourne)
(Motorhead)
(Megadeth)
“What does a Marshall sound like?
Strength, warmth, commitment, beauty
and destruction . . . all wrapped up in a
giant f**kin’ wrecking ball!”
“Old Marshalls never die – they
just blow your f**king head off!”
“When my tone sounds and feels right,
something happens that makes me feel
alive.That’s why I use Marshalls.”
“Even when I experimented with other
heads, I still ran them through Marshall
4x12”s. Marshall amps have become an
integral part of my tone.”
“Marshall’s the best rock ‘n’ roll amp in
the business. Nobody has topped them
since they were first made in ’62.”
KK Downing
Matt Bellamy
Yngwie Malmsteen
Steph Carpenter
Mick Box
Kerry King
(Judas Priest)
(Muse)
(Slayer)
“We use Marshall because when we
jump on them they still work, and
they sound good . . . real good!”
(Deftones)
“I’ve been playing guitar for 19 years
and have used Marshalls the whole time
. . . there’s no reason for any other amp.”
(Uriah Heep)
“Millions of musicians all around the
world use them, they can’t all be
wrong can they!”
“I plugged into a Marshall 25 years ago and
from my first crunchy riffs to my latest
screaming leads, my Marshalls were always
right behind me, lot’s of them! There will
always be imitations, but in the end there can
only be one, the only one, Marshall!”
“Plug in and enter the world of
vintage heaven, just how it should be.
It just makes you want to play, and
you can’t say any better than that.”
“To me, Jim Marshall is the ultimate rock
star because he made all of us better! It’s an
incredibly unique honour to have my
signature on an amp right next to his.
Plus, it’s just f**kin’ cool and flattering that
Jim thinks enough of me to roll with my own
head.”
Photos: Chad Lee: Slash. Dave Maud: Angus Young. Bob Thacker: Janick Gers, Dave Murray, Lemmy. Mickey Rose: Paul Weller. Denis O’Regan: Peter Frampton.
Al Pulford: Zakk Wylde, Steph Carpenter. Gene Kirkland: Dave Mustaine. Chris Gill: Ace Frehley. Mickey Rose: Matt Bellamy. Kerry King: Rob Wyatt.
4
Marshall Amplification Product Catalogue
5
JVM Series Amplifiers
JVM410H Head • JVM410C Combo
“Marshall is back with a new flagship that delivers on every promise . . . it’s a
multi-channel, multi-mode monster that really works and, try as we may,
we can’t find a single weak point in the JVM’s tonal palette.”
UK Guitarist Magazine, January 2007
From left to right:
JVM410C Combo
JVM410H Head
1960A Cab
JVM410H Head
1960A Cab
1960B Cab
The all-valve, 4 channel, 100 Watt JVM Series:
• 5 x ECC83 and 4 x EL34 valves
• Four totally independent channels
• 12 footswitchable modes
• Vast tonal versatility
• Insane amounts of gain
• Two footswitchable Master Volumes
• Studio quality, footswitchable digital reverb with controls
for each channel
• Two FX Loops, one footswitchable
• Revolutionary 6-way footswitch with memory
• Built-in switch memory for each of its 12 modes
• 28 front panel controls and eight switches, yet,
is incredibly intuitive to use
• MIDI control of all switches
• Built in England
Versatile, Revolutionary, Unrivalled
JVM410H Head & JVM410C 2 x12” Combo
The JVM Series 100 Watt, valve-driven power stage is built on the classic
design responsible for the legendary Marshall roar found in the JCM800
2203 and “Plexi” Super Lead amplifiers – a timeless foundation for
countless classic rock and metal guitar tones for over four decades.
Each of the JVM’s four channels: clean, crunch, OD1 & OD2 has three
modes – green, orange and red – providing 12 totally unique, yet
complimentary amplifier topologies, making it 12 amps in one. As a
result, the Series offers an amazing array of instantly switchable tones –
from the cleanest clean to the highest gain ever found in a Marshall and
all points in-between.
The JVM front panel is simple and uncompromising; dedicated Gain, EQ,
Volume and Reverb are present for each of the four channels. Add to this
6
a Master section with dual Master Volumes, Resonance and Presence
and you have a clear, concise layout that makes the JVM easy and
intuitive to use. With seamless switching, perfect memory, and MIDI,
onboard logic not only ensures switching is swift and silent, but also
remembers the position of each front panel switch in all 12 modes.
Every JVM is made at our Marshall factory in England using time-tested,
traditional methods of craftsmanship and construction, combined with
the latest advances in modern manufacturing technology, ensuring world
class build quality and roadworthiness. Internally, the JVM circuitry and
layout has been kept to a minimum, ensuring the integrity of the guitar
tone and an incredibly low noise floor – this, coupled with meticulous
valve selection and high tolerance along with quality components adds
to the all-important reliability factor that is synonymous with the Marshall
legend.
The JVM Series also includes the JVM410C 2x12” combo which boasts
two different speaker types – Celestion Vintage and a Celestion Heritage
– allowing the combo to deliver spacious, rich tones backed-up with a
solid low-end thump.
AMPLIFIER SPECIFICATION
FEATURES
JVM410H
JVM410C
Head
✓
No
Combo
No
✓
100 Watt
No
4 x ECC83
1 x ECC83, 4 x EL34
PEDL-00044
750 x 310 x 215
22
100 Watt
1 x Vintage, 1 x Heritage
4 x ECC83
1 x ECC83, 4 x EL34
PEDL-00044
690 x 510 x 265
34.5
Output (RMS)
Speakers
Pre-Amp Valves
Power Amp Valves
Footswitch (supplied)
Dimensions (mm)
Weight (kg)
Ultimate Control & Connectivity
Every JVM is supplied with a 6-way, fully programmable footswitch.
This revolutionary, UK patent-pending technology allows single front
panel switches or entire set-ups (Channel, Mode, Reverb, FX Loop and
Master Volume switch settings) to be simply assigned to any foot switch.
The footswitch’s group of multi-coloured LEDs reflect every front panel
switch status ensuring, in the heat of a performance, that you know
exactly where you are with no need to see the amp. To add to it’s already
impressive ‘guitarist friendliness,’ the JVM footswitch connects to the
amplifier via a standard guitar lead, making it easy to replace with any
length you may need. Additionally, the JVM’s MIDI In and Thru
connection means it can easily be integrated in a MIDI switching set-up,
allowing you to store and recall 128 complete amplifier set-ups. With its
built-in memory and switching options, the JVM’s possibilities are
endless.
Check out our website at www.marshallamps.com for a full list of features and
demonstration.
7
Vintage Modern Amplifiers
2466 Head • 2266 Head • 2266C Combo • 425A/425B Cabs
Paul Mahon
(The Answer)
“The most responsive amp I’ve ever played, when you
crank up the gain the clarity remains and when the
solo boost (Dynamic boost) kicks in you better run for
cover as this beast really cooks!”
Doug Aldrich
(Whitesnake)
“That’s one BAD ASS amp! I’ve been searching for
this sound for over 30 years, now right outta the box,
here it is! Amazing.”
From left to right:
2266C Combo
2466 Head
425A Cab
425B Cab
2266 Head
425A Cab
The Vintage Modern Series is a brand new range of UK
manufactured all-valve amplifiers that caters for the guitarist
who likes to primarily control their sound from playing
dynamics and their instruments volume and tone controls.
These amplifiers have 100% mid ’60s to early ’70s vintage
British blues rock tone with the ability to switch to a hot rod
mode to find those ‘modded’ sounds of the harder rock
bands of that era. The KT66 Power Amp section and power
supply are taken from the Super 100 models made from
1966 to 1968, while the pre-amp has been optimised to
provide greater flexibility in setting the sound to complement
specific instruments and styles and ultimately achieve your
own signature tone. Inherently less aggressive in the treble
region than the later EL34 loaded amps, but fatter in the low
mid and mid region, the sound is instantly recognisable as
classic early Marshall power driven tone!
2466, 2266 & 2266C
The 2466 100 Watt head, 2266 50 Watt head and 2266C 50 Watt 2x12”
combo are all-valve single channel amplifiers offering a choice of two
‘dynamic ranges’ selectable by footswitch. The Low range equates to the
performance you would come to expect from a stock vintage Marshall
amplifier in terms of tone and available gain. The High range adds an
extra pre-amp valve into the signal path, facilitating those classic hard
rock tones of the Seventies. Add to this, the ability to optimally interface
with your instrument’s Volume and Tone controls and the experience
translates into a truly expressive and organic feel in performance.
Two ‘frequency selective’ Pre-amp Volumes (Gains) – Body and Detail –
facilitate greater flexibility of tonal shaping for individual guitars and
styles, while the power amplifier is from some of the earliest 100W
Marshall amplifiers to be produced, with KT66 output valves yielding that
substantial fat and smooth tone, four on the 2466 and two on the
8
2266 & 2266C. A Mid Boost switch on the front panel fattens the tone
even more, while a traditional Marshall tone control circuit enables fine
tuning of your sound.
A Master Volume has been included in order to practically manage the
output levels at all venues. This is implemented after the ‘phase splitter’ in
order to fully exploit maximum pre-amp drive when the master is turned
down low. A Reverb level control mixes the on-board ‘plate’ reverb with
the direct signal to whatever degree the player chooses. The Reverb can
be toggled on and off via the footswitch. A series FX Loop is provided for
those players who wish to use outboard effects to further enhance their
sound. Loop levels of -10dB and +4dB are catered for via a rear panel
switch as well as the option to completely bypass this feature if it’s not
required. Additionally, the 2266C combo comes fitted with two Celestion
G12C 25 Watt Greenback speakers with the facility to use an extension
cabinet if required.
FEATURES
Head
Combo
Output (RMS)
Speakers
Pre-Amp Valves
Power Amp Valves
Dimensions (mm)
Weight (kg)
2466
2266
2266C
✓
✓
No
No
100 Watt
No
4 x ECC83
4 x KT66
PEDL-00041
750 x 310 x 230
22.5
No
50 Watt
No
4 x ECC83
2 x KT66
PEDL-00041
750 x 310 x 230
18
50 Watt
2 x G12C
4 x ECC83
2 x KT66
PEDL-00041
690 x 570 x 270
30
✓
425 Cabinets
The 425A and 425B are the traditional 4x12” Marshall designed
cabinets that accompany this range. They have exactly the same
dimensions as the 1960A/B, but the speakers used in these mono/stereo
switchable 100W 4x12”s and in the 2266C combo are the brand new
G12C 25 Watt Celestion Greenbacks. These were specifically developed
for the Limited Edition Jimi Hendrix Super100JH stack and are voiced to
give that rich and balanced harmonic timbre that complements vintage
tone and therefore the Vintage Modern Series perfectly.
CABINET SPECIFICATION
FEATURES
Cabinet Type – Angled
Cabinet Type – Base
Speaker Configuration
Speaker Type
Power (RMS)
Impedance: Mono
Stereo
Dimensions (mm)
Weight (kg)
425A
425B
✓
No
No
4 x 12"
G12C (25 Watt)
100 Watt
16 Ohms/4 Ohms
8 Ohms/8 Ohms
770 x 755 x 365
36
4 x 12"
G12C (25 Watt)
100 Watt
16 Ohms/4 Ohms
8 Ohms/8 Ohms
770 x 755 x 830
37
✓
9
Handwired Amplifiers
1959HW Head • 2061X Head • 1974X Combo • 1960AHW/BHW Cabs • 2061CX Cab • 1974CX Cab
Gary Moore
“Nothing else is like a Marshall, you don’t just
hear the sound, you feel it!”
Bernie Marsden
“I was too young the first time, but I sure ’aint
missin’ it the second time.”
From left to right:
1974X Combo
1959HW Head
1960AHW Cab
1960BHW Cab
2061X Head
2061CX Cab
The timeless tone of vintage handwired, all-valve Marshall
amplifiers have made them highly desirable to collectors
and sonic connoisseurs alike. Due to overwhelming public
demand we are proud to introduce meticulous, handwired
re-issues of three of our most sought-after amplifiers as the
first products in our new Handwired Series – a Series that
celebrates the company’s rich tonal heritage and revisits
the handcrafted traditions and skills that first launched the
Marshall legend.
1959HW Head & 1960AHW/BHW Cabinets
To the minds and ears of many, the mythical 100 Watt “Plexi” heads of
the late ’60s are considered the “Holy Grail” of great rock tone. Our
handwired 1959HW transports us back in time to that celebrated era and
the result is a breathtaking re-issue that’s authentic in every detail – from
those world-famous front panel legends to the oversized, custom-built,
“drop through” mains transformer that lies at the very heart of the beast.
Good looks and impressive specs aside, the 1959HW’s real beauty lurks
in its unique and highly responsive tone.
To complement the 1959HW’s sonic and visual majesty, we offer the
1960AHW (angled) and 1960BHW (straight) 4x12" cabinets that boast
Basket Weave fret cloth, metal handles, “100” logos and are loaded with
Celestion’s highly-acclaimed G12H-30 (55Hz) re-issue speakers.
2061X Head & 2061CX Cabinet
As the perfect sonic and visual partner for the 2061X, we offer the
2061CX – a compact, angled-front 2x12", 60 Watt cabinet loaded with
Celestion’s renowned G12H-30 (75Hz) re-issue speakers.
FEATURES
The 1974X is an authentic re-issue of the fabled 18 Watt 1974 combo of
the late sixties (1966-1968). Just like the original, it boasts a
point-to-point, handwired, tagboard circuit housed in an aluminium
chassis, plus a valve-driven tremolo circuit. At the very heart of its simple,
but effective, two channel design can be found six valves: three ECC83s
in the preamp, an EZ81 rectifier and a pair of cathode-biased EL84s in
the power stage. The output and mains transformers are vital
components in any amplifier because they influence performance, sound
and feel, so we worked extremely closely with our associates at Dagnall
in order to duplicate the original, “off-the-shelf” transformers in all areas.
Another major contributing factor to the distinctive sound of vintage 1974
combos is the way the original 20 Watt, ceramic magnet, Celestion
Greenback T1221 loudspeaker’s tone has softened with age.
In order to recreate the gorgeously smooth tones of a 35-year-old
vintage Greenback, Celestion not only revisited the 1967 recipe for the
speaker, they also came up with a proprietary way of “aging” the
speakers so they sound and feel like the originals made in the late ’60s!
The same exact, exclusive “aged” T1221 Greenback speaker is also
found in the 1974CX, a 1x12" extension cabinet for the 1974X.
Head
10
1959HW
2061X
1974X
✓
✓
No
No
20 Watt
No
No
2 x ECC83
2 x EL84
No
N/A
510 x 225 x 210
10
✓
18 Watt
✓
1 x G12M-20 Special
3 x ECC83
2 x EL84
1 x EZ81
PEDL-10034
610 x 535 x 230
19
Combo
No
100 Watt
Output (RMS)
Tremolo
No
Speakers
No
Pre-Amp Valves
3 x ECC83
4 x EL34
Power Amp Valves
Valve Rectifier
No
N/A
Dimensions (mm)
744 x 305 x 210
Weight (kg)
22
FEATURES
An authentic, handwired re-issue of the original 20 Watt 2061 head
(1968-1973), this compact, twin-channel, all-valve beauty houses
2 x ECC83 valves in its preamp and a pair of cathode-biased EL84s in its
power stage. The 2061X features a solid-state, silicon diode rectifier and
is a very aggressive and surprisingly modern sounding amplifier, while still
possessing that unmistakable and highly desirable, vintage all-valve tone.
Just like the original, the 2061X boasts a point-to-point, handwired,
tagboard circuit, a mild-steel chassis and Dagnall transformers.
1974X Combo & 1974CX Extension Cabinet
Speaker Type
Power (RMS)
Impedance
Dimensions (mm)
Weight (kg)
1960AHW/BHW
2061CX
1974CX
✓ (AHW)
✓ (BHW)
✓
No
No
2 x 12"
G12H-30 (75Hz)
60 Watt
1 x 12"
G12M-20
20 Watt
4 x 12"
G12H-30 (55Hz)
120 Watt
16 Ohm
AHW - 762 x 826 x 362
BHW - 765 x 820 x 364
36.4
✓
8 Ohm
16 Ohm
650 x 665 x 305
610 x 535 x 230
24
14
11
Vintage Re-Issue Amplifiers
1959SLP Head • 1987X Head • 2245 (JTM45) Head
Simon Neil
(Biffy Clyro)
“The 1959SLP head is everything you need from an
amp. It’s crisp and beefy as f**k.What more could you
ask for in a rock band. It’s the most rocking guitar
sound I’ve ever had.”
Yngwie Malmsteen
“I love everything about the amp, the tone, the crunch, the singing
sustains when coupled with my Signature YJM DOD Overdrive
pedal. I could go on and on.”
From left to right:
1987X Head
1960AX Cab
1960BX Cab
2245 (JTM45) Head
1960TV Cab
1959SLP Head
1960AX Cab
1960BX Cab
The Vintage Series comprises the 100 Watt 1959SLP
head, 50 Watt 1987X head, the 30 Watt JTM45 head,
30 Watt 1962 ‘Bluesbreaker’ combo, the 100 Watt
JCM800 2203 head and the JCM900 4100 head.
All are faithful reproductions of the classic originals,
which helped shape the sound of the modern electric
guitar as we know it. The common characteristic of all
these amps is their simplicity of operation and superb
natural valve tone.
Due to high demand from users we have taken this
opportunity to add a sonically transparent Effects Loop to
the 1959SLP, 1987X and JCM800 2203 models. The
Loop has been designed to not colour the guitar sound in
any way, and a (true) Bypass switch gives you the option
of completely removing this circuitry if desired. The only
exception is the JCM900 4100 where the Series Effects
Loop has always been a pivotal part of this versatile
amp’s design. A loop Level switch on all these models
ensures compatibility with both rack processors and
stomp boxes.
1987X Head
Though the 50 Watt 1987X shares the same front and rear panel features
as its big brother, the 1959SLP, it does have its own distinct personality.
Sweet, warm, singing sounds are the trademark of this great tone
machine. As is the case with the 1959SLP, the 1987X has fittings and
hardware as true to the originals as possible, to ensure an authentic
Marshall ‘vintage’ look, plus the addition of a Series Effects Loop with
Bypass and Level switches.
2245 (JTM45) Head
When Jim Marshall started manufacturing amps back in 1962, the first
one out of the workshop was the JTM45. This amp instantly became a hit
and launched a whole new generation of amazing guitar players. Since
then, connoisseurs of tone have searched high and low for original
examples of this beautiful amp. Now the search is over; the re-issued
JTM45 is full of glassy clean tone and fluid warm sustain.
By including GZ34 valve rectification, as found in the original, we have
ensured a faithful recreation of the JTM45’s signature sound. The GZ34
rectifier valve interacts with the rest of the valves causing subtle
harmonics to shift and smoulder beneath every note you play.
FEATURES
1959SLP Head
THIS IS IT! The amp that defines classic rock – the Marshall 100 Watt
Super Lead Plexiglas head of the late ’60s, re-issued in all its glory. To
ensure tonal authenticity we searched for an amp from this period that
epitomised this model. We gave this amp to our guitar playing R&D
experts and they developed a replica that was so exact we couldn’t tell
them apart. As previously mentioned, the only modern concession made
was to add a tonally transparent Series Effects Loop with a true bypass
switching option for the purist.
12
Head
Combo
Output (RMS)
3 Band EQ
Tremolo
Pre-Amp Valves
Power Amp Valves
GZ34 Valve Rectifier
Series FX Loop
Dimensions (mm)
Weight (kg)
1959SLP
1987X
✓
✓
2245
✓
No
100 Watt
✓
No
3 x ECC83
4 x EL34
No
✓
No
750 x 310 x 215
20.5
No
50 Watt
✓
No
3 x ECC83
2 x EL34
No
✓
No
665 x 265 x 205
15.3
No
30 Watt
✓
No
3 x ECC83
2 x 5881
✓
No
No
665 x 265 x 205
14.6
13
Vintage Re-Issue Amplifiers
JCM800 2203 Head • JCM900 4100 Head • 1962 ‘Bluesbreaker’ Combo • PB100 Power Break
William J Brown
Zakk Wylde
(The Ordinary Boys)
“Buy one now!”
“I’ve been using a JCM800 Marshall since
before I started with Ozzy back in ’88. I’ve
tried other amps, but I’ve always ended up
back with my Marshalls. Jim Marshall kicks
ass and I’m proud to be part of the legion of
players who make up the Marshall Army.”
From left to right:
PB100 Power Brake
2203 JCM800 Head
1960A Cab
1960B Cab
1962 ‘Bluesbreaker’
4100 JCM900 Head
1960A Cab
1960B Cab
JCM800 2203 Head
The all-valve JCM800 2203 is one of the most highly respected 100 Watt
Marshall heads in the company’s long history. Evolving from the
legendary 100 Watt ‘Plexi’ head, it was one of our first amplifiers to
feature a Master Volume (MV) control.
The very essence of simplicity, the JCM800 2203 is a one channel,
all-valve amp with no reverb or built-in effects. Its foolproof interface,
distinctive roar and larger-than-life ‘edge’ immediately set the standard
by which all other rock amps were judged and it remained the ‘industry
benchmark’ throughout the entire decade of its production life.
Now it’s back by popular demand and, as with the 1959SLP and 1987X,
we’ve added a Series Effects Loop featuring a true bypass switch that
takes the loop completely out of the circuit, thus ensuring the original
tone isn’t compromised in any shape or form.
JCM900 4100 Head
Another player’s favourite, the JCM900 4100 all-valve 100 Watt Marshall
head is available once again. Known for its great tone and reliability, the
JCM900 range has won many fans with its incredible versatility.
Channel A has been voiced for a sparkling clean on lower gain settings,
building up to a raunchy crunch when driven hard. Channel B takes off
from where Channel A finishes and is perfect for any lead tone – from
silky smooth to searing saturation. As well as having separate Gain
controls, each channel has its own Master section containing controls
for Master Volume and Master Reverb.
A Series Effects Loop with Level switch allows you to use either floor
pedals or rack effects. Whatever style of rock you play the 4100 will
give you tonal flexibility without compromise.
1962 ‘Bluesbreaker’ Combo
After the huge success of the JTM45 amplifier, a 2x12" combo
version was released to satisfy popular demand and the now
legendary 1962 combo was born. Once again the use of a GZ34
valve rectifier is responsible for helping to achieve the famed output
stage compression and sustain exhibited uniquely by both the
JTM45 and 1962.
14
Though tonally similar to a JTM45, the 1962 combo is loaded with two
re-issue ‘Greenback’ 25 Watt speakers to re-create that classic sixties
tone. The 1962 ‘Bluesbreaker’ combo also comes with the addition of
a footswitchable Tremolo effect.
PB100 Power Brake
The Master Volume control on your valve amp makes it sound good at
low volume, but ALL, all-valve amps sound better cranked. This is a
scientific fact of life. Plus, what do you do if your amp doesn’t have a
Master Volume? The Marshall PB100 Power Brake power attenuator is
the answer.
There are other attenuators or load boxes available, but they don’t
provide the right type of inductive load that makes your amp think it’s
connected to a speaker. At best, these other devices cause your amp to
sound thin and feeble. At worst, they can blow your amp’s output
transformer – an expensive proposition. The Power Brake power
attenuator delivers great sound . . . safely!
FEATURES
Head
Combo
Output (RMS)
3 Band EQ
Tremolo
Speakers
Pre-Amp Valves
Power Amp Valves
GZ34 Valve Rectifier
Series FX Loop
Dimensions (mm)
Weight (kg)
2203
4100
1962
✓
✓
No
No
100 Watt
✓
No
No
3 x ECC83
4 x EL34
No
✓
No
750 x 315 x 215
20.5
No
100 Watt
✓
No
No
3 x ECC83
4 x 5881
No
✓
No
750 x 310 x 210
18.8
✓
30 Watt
✓
✓
2 x 12”
3 x ECC83
2 x 5881
✓
No
PEDL-10008
740 x 610 x 265
30.2
15
JCM2000 DSL Amplifiers
DSL100 Head • DSL50 Head • DSL401 Combo
Matt Heafy
Larry Hibbitt
(Trivium)
(Hundred Reasons)
“I’ve played through pretty much every amp out
there, but when it comes down to it, Marshall’s the
one that started the sound – it’s the one behind that
awesome crunch! My Marshall DSL100 rig delivers
a tone that tears your face off with its sheer
brutality but, at the same time, astonishes with its
beautiful clarity.”
The formidable family of JCM2000 valve amps was born
when we launched the DSL100 and DSL50 heads to an
unprecedented wave of critical and public acclaim in 1997
with a design that gave guitarists virtually any amp sound
from ‘Nashville Clean’ to jaw-dropping hi-gain crunch, we
knew these heads were destined to take their place in line
with the other great Marshall amplifiers. With each
subsequent JCM2000 product introduction, glowing
accolades continued.
The final addition to the line came when we unleashed the
baby of the family – the EL84-powered DSL401 combo.
Once again, the reception it received was overwhelmingly
positive and its inclusion in the line made the JCM2000
Series the most comprehensive range of valve amplifiers in
the illustrious 40 year history of Marshall.
DSL100 & DSL50 Heads
Countless hours of R&D and, of course, listening went into the creation of
the 100 Watt DSL100 and 50 Watt DSL50 heads. As DSL is an acronym for
‘Dual Super Lead’, it should come as no surprise that each amp has two
footswitchable channels – Classic and Ultra. Furthermore, each of these
channels boasts two modes: the Classic channel offers a Clean/Crunch
option while the Ultra offers Lead 1 or Lead 2. Instead of merely offering a
variation in gain level to the two channels, each one of these four modes
has been individually voiced as an amp in its own right.
The tremendous tonal versatility of these amps, coupled with a 100%
pure valve signal path, dual Reverb controls, Tone Shift switch (which
‘scoops out’ the mids) and a Deep switch (which adds a tight, low end
boost), caused the guitar world to sit up and take notice right from the
outset. As soon as you play one, you’ll hear and feel why so many of the
world’s foremost players and journalists were quick to dub the DSL
16
“The louder they are the better they sound.”
heads as “the best Marshalls ever!” It also won’t surprise you when you
learn that this dynamic duo of JCM2000 amps have become the
company’s best selling all-valve heads to date.
FEATURES
Head
DSL401 Combo
Weighing in at 40 Watts and housing two independent, footswitchable
channels, the compact, EL84-powered DSL401 1x12" combo is the
smallest model of the impressive, eight member JCM2000 family.
Don’t let the relatively small size fool you though, it packs a powerful
punch. In fact, the DSL401 made such a big impression on Art
Thompson, the technical editor of Guitar Player magazine, that he felt
compelled to write the following: ‘Their tight, punchy tones are Marshall
through and through, these new combos are the mightiest minis that
Marshall has ever made.’
Like its bigger brothers, the Clean channel of the DSL401 produces a
wide array of crystal clear yet complex, clean sounds. It also gets
big ‘n’ bluesy when the channel’s Gain control is cranked up. As
Mr Thompson so aptly put it in his Guitar Player review: ‘The clean
channel yields sparkling tones at low settings and increasing levels of
fat grind as you turn up the gain. With the Gain knob maxed, you get
a throaty lead sound that cleans up nicely when you roll down your
guitar volume. Strats and Teles sounded particularly rich and
aggressive.’
Sticking with Art’s much-respected eloquence, here’s how he described
the Overdrive channel of this amp in his rave review: ‘Depending on how
you set the highly interactive Gain and Volume controls, you can dial in
anything from pert overdrive to perpetual sustain and beyond.’
The DSL401 boasts the following rear panel attributes: dual speaker
jacks (with an 8 Ohm/16 Ohm impedance selector switch) for driving
external cabinets and an optional Reverb on/off footswitch jack. The most
significant ‘extra’ of them all though is this, the DSL401 has three
footswitchable sounds – Clean, OD1 & OD2! The difference between
OD1 and OD2? A massive 20dB boost which is instantly accessible with
a mere tap of your foot on the supplied 2-way (Clean/OD, OD1/OD2)
LED footswitch.
Combo
Output (RMS)
Channels
Modes per Channel
Reverb Control
Tone Shift
Deep Switch
Series FX Loop
Parallel FX Loop
Pre-Amp Valves
Power Amp Valves
Dimensions (mm)
Weight (kg)
DSL100
DSL50
DSL401
✓
✓
No
No
100 Watt
2
2
✓ (per Ch)
✓
✓
✓
No
4 x ECC83
4 x EL34
PEDL-10001
750 x 310 x 215
19
No
50 Watt
2
2
✓ (per Ch)
✓
✓
✓
No
4 x ECC83
2 x EL34
PEDL-10001
750 x 310 x 215
18
✓
40 Watt
3
None
✓
No
No
No
✓
4 x ECC83
4 x EL84
PEDL-10013
575 x 485 x 265
20
From left to right:
DSL401 Combo
DSL50 Head
1960A Cab
DSL100 Head
1960A Cab
1960B Cab
17
JCM2000 TSL Amplifiers
TSL100 Head • TSL122 Combo
Philip Sneed
(Story of the Year)
“For tone we need versatility and balls.Thanks
for consistently strong balls Mr Marshall.”
Sean Martin
(Hatebreed)
“The reason I’m drawn towards Marshall amps is simple –
they’re the best for what I do in Hatebreed, in fact, you
couldn’t ask for anything better.They’re heavy as hell and
the JCM2000 Series amps have something that a lot of high
gain amps lack – actual tone! To put it simply, they rule!”
From left to right:
TSL122 Combo
TSLC212 Cab
TSL100 Head
1960A Cab
1960B Cab
When we launched the DSL100 in the late ’90s, the world’s
guitar press unanimously hailed it as ‘the best Marshall
ever’. As a result of this, the pressure was truly on when
we introduced the next two members of the JCM2000
family, the 100 Watt, Triple Super Lead (TSL) twins:
the TSL100 head and TSL122 2x12" combo.
How did the critics react? ‘It does everything my old
Marshalls do and more . . . the TSL is far more versatile
than any other valve Marshall out there, and offers many
ways to “tweak” your tone. The TSL100 has taken the lead
as the best sounding Marshall amp available today.
Marshall’s sound engineers have outdone themselves this
time. It’ll be tough for them to top this one,’ is how
Guitar Shop magazine put it. We’re delighted to report that
this rave review was the global norm.
TSL100 Head & TSL122 Combo
What makes the TSL100 and TSL122 so special? Great tone combined
with a myriad of mouth-watering facilities that make them incredibly
versatile.
The Triple Super Lead’s three completely independent, footswitchable
channels (Clean, Crunch and Lead) effectively give you three different
classic amps in one casing. Each channel has its own controls for Gain,
Volume, Treble, Middle and Bass. The Clean channel also has a Mid
Boost switch, while the Crunch and Lead channels each have their own
Tone Shift switches that ‘scoop’ out the mids.
When it comes to how these 100 Watters sound, Tom Beaujour put it like
this in his review for Guitar World magazine: ‘The Clean channel’s
smooth, elastic tone was a welcome surprise . . . with the Mid Boost
engaged it was easy to conjure the warm sparkle of an old F*nder twin.
‘Cranking the gain on the Clean channel yielded biting Hendrixian tones.
18
The TSL100’s Crunch channel lived up to my expectation and proved
stunningly malleable too. For those who live for gain galore, the TSL’s
lead channel delivers singing sustain and filthy grunge, and with the aid
of the well-voiced tone controls, it’s easy to sculpt an almost infinite array
of tones.’
The TSL100 and TSL122 both boast the same valve configuration of
4 x EL34 output valves and 4 x ECC83 pre-amp valves. They also share
the following features:
• Footswitchable Accutronics Spring Reverb with dual controls
(one for Clean, one for Crunch/Lead).
• Individual Presence controls and Deep switches for Clean and
Crunch/Lead channels.
• Two Parallel FX Loops (footswitchable).
• XLR DI output featuring Marshall’s acclaimed speaker emulation,
allowing direct connection to recording or PA mixing desks without the
need for microphones or DI boxes.
• A Power Amp Mute facility for silent recording via the built-in DI.
• A ruggedly built, 5-way LED footcontroller that gives you the ability to
switch between the three individual channels, plus switch the Reverb
and FX Loops on/off.
• An innovative Virtual Power Reduction (VPR) switch which, when
engaged, emulates the sound and feel of a 25 Watt valve power amp.
VPR was described in Guitar World magazine by Tom Beaujour as
follows: ‘The usefulness of the VPR feature cannot be over estimated.
Beyond allowing you to avoid nasty eviction notices, it will make you
the best friend of every soundman in the world.’
FEATURES
Head
TSL100
TSL122
✓
No
No
Combo
Output (RMS)
100 Watt
Channels
3
✓
Independent Tone Networks per Ch.
Mid Boost on Clean Channel
✓
Deep Switches (Clean & Crunch/Lead)
✓
Tone Shift Switches (Crunch & Lead)
✓
Virtual Power Reduction
✓
Output Mute
✓
Spring Reverb with Dual Controls
✓
Emulated Line Out
✓
Two Footswitchable FX Loops
✓
FX Mix Controls
✓
Pre-Amp Valves
4 x ECC83
Power Amp Valves
4 x EL34
PEDL-10021
5-Way LED Footcontroller (supplied)
750 x 310 x 215
Dimensions (mm)
Weight (kg)
22.5
Speakers
No
✓
100 Watt
3
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
4 x ECC83
4 x EL34
PEDL-10021
690 x 510 x 265
30.5
✓ (x 2)
FEATURES
Power (RMS)
Impedance
Dimensions (mm)
Weight (kg)
TSLC212
2 x 12”
150 Watt
16 Ohm
673 x 478 x 260
24
Speaker Talk
To maximise its already superior sonic powers, the TSL122, 2x12" combo
has been fitted with two different 12" speaker types – a Marshall/Celestion
Vintage and a Marshall/Celestion Heritage. By combining the unique
characteristics of this pairing, optimum tone and performance is ensured.
A 2x12" extension cabinet for the TSL122, the TSLC212, is also available.
This 16 Ohm cabinet features the exact same speaker combination to
make it the perfect match for the combo, both sonically and visually.
19
JCM2000 TSL Amplifiers
TSL60 Head • TSL601 Combo • TSL602 Combo
Bruce Kulick
“Marshall amps have always been a part of
my sound. From clean to massive crunch
tones and everything in between – when
it comes to amps, as always, Marshall
means business.”
Steve Mazur
(Our Lady Peace)
“I use Marshall amps because they give me the
power and punch that I need as well as being
extremely warm and versatile.”
This trio of triple channel, 60 Watt, tone monsters are
proud members of the critically-acclaimed JCM2000
Series. In keeping with their rich family heritage, they
each boast a 100% pure, all-valve signal path
(4 x ECC83 pre-amp valves, 2 x EL34 power valves)
and a host of ‘guitarist-friendly’ features.
The three units that make up the TSL60 Series are: the
TSL60 head, the TSL601 1x12" combo and the TSL602
2x12" combo.
In terms of amplifier attributes, they’re identical triplets –
in fact, the only difference between them is the size of
the cabinet in which they each dwell and the fact that the
TSL601 and TSL602 combos obviously drive straight
into their own internal, custom-voiced Celestion
speakers.
Common Ground
As TSL stands for Triple Super Lead, logic dictates that the TSL60s
have three footswitchable channels: Clean, Crunch and Lead. Add to
this a footswitchable Spring Reverb with dual controls (one for Clean,
one for Crunch/Lead), a footswitchable Parallel FX Loop with Mix
control, an XLR DI Output featuring Marshall’s acclaimed speaker
emulation, plus a Deep switch and you have an impressive range of
highly flexible, professional amps.
The Clean channel has its own controls for Gain, Treble, Middle, Bass
and Reverb. Like their bigger brothers, the 100 Watt TSL100 head and
TSL122 combo, each of the TSL60 triplets is capable of a wide range of
harmonically rich, clean tones – from warm, round jazz to bright country
twang. Furthermore, when the Gain control is cranked, their so-called
Clean channel produces a wonderfully authentic, bluesy crunch . . . just
like those vintage amps of yesteryear.
20
The Crunch and Lead channels each have independent controls
for Volume and Gain while sharing controls for Treble, Middle, Bass
and Reverb. They also share a front panel Tone Shift switch which,
when activated, reconfigures the mid-range to produce a chunky,
‘scooped’ sound. This is perfect for producing modern, high-gain
crunch tones and also for beefing up your sound when playing at low
volumes.
In keeping with its impressive TSL lineage, the Crunch channel’s Gain
control will take you from a mild, almost clean crunch, all the way
through to a saturated overdrive, perfect for aggressive rhythm work
and even soloing. Then, as you’d expect from any amp worthy of
sporting the noble JCM2000 badge, the Lead channel goes a step
(or four!) further and is capable of producing some of the highest levels
of distortion ever found in a Marshall. More importantly, it does this in a
highly musical way so your notes remain clear and well-defined, even
when the gain is cranked to the max and you’re blazing away at the
speed of light!
In addition to a Master Volume control and the aforementioned dual
Reverb controls, the Master Section has an FX Mix control for the rear
panel mounted Parallel FX Loop, a Master Presence Control and a
Deep switch. The latter provides a tightly focused, resonant bass boost
that will fatten-up your sound dramatically at any volume. To round off
this neat little package, all the TSL60s come supplied with a 5-way, LED
footcontroller. This sturdy device not only allows you to switch between
the amp’s three channels, but also gives you on/off control of the Reverb
and FX Loop.
FEATURES
TSL60
TSL601
TSL602
Output (RMS)
60 Watt
60 Watt
60 Watt
3
✓
✓
✓
✓
✓
✓
✓
4 x ECC83
2 x EL34
PEDL-10021
✓ (x 1)
575 x 485 x 265
25
3
✓
✓
✓
✓
✓
✓
✓
4 x ECC83
2 x EL34
PEDL-10021
✓ (x 2)
680 x 510 x 270
30
3
Number of Channels
✓
Two Tone Networks (Clean & Crunch/Lead)
Deep Switches
✓
Tone Shift Switch (Crunch/Lead)
✓
Spring Reverb with Dual Controls
✓
Emulated Line Out
✓
FX Mix Control
✓
Footswitchable FX Loop
✓
4 x ECC83
Pre-Amp Valves
Power Amp Valves
2 x EL34
PEDL-10021
‘Wolverine’ Speakers
No
Dimensions (mm)
750 x 310 x 221
Weight (kg)
18
From left to right:
TSL601 Combo
TSL60 Head
1960A Cab
1960B Cab
TSL602 Combo
TSL60 Series Speakers
The TSL601 and TSL602 combos feature a custom-voiced speaker
designed by our R&D department in conjunction with Celestion. This
12" speaker was specifically developed with the TSL601 and TSL602
combos in mind and we’re so delighted with its sheer tonality, attitude
and power that it has earned the title the ‘Wolverine’. Why? Because,
like the animal after which it is named, this beast of a speaker delivers a
mighty, tone-filled bite that belies its diminutive size!
21
Mode Four Amplifier
MF350 Head • MF280A/B Cabs • MF400A/B Cabs
John 5
Dave Navarro
“I want to use the best amps in the world.
That’s why I’ll be with Marshall forever!”
(Jane’s Addiction)
“My Marshall has enabled me to do away with half of
what I used to use on the floor.You’ll find that your old
distortion and boost pedals will make great gifts.”
From left to right:
MF350 Head
MF400B Cab
MF350 Head
MF280A Cab
MF280B Cab
Attitude, stunning good looks and an incredible
350 Watts of brutal yet toneful power set the Mode Four
apart from all other amps. Add to this an arsenal of great
sounds, a wide range of professional features plus
groundbreaking, state-of-the-art hybrid technology and you
have a Marshall like no other.
MF350 Head
A great many amplifiers have claimed to offer both classic and modern
tones but, in truth, have fallen well short of the mark. The Mode Four
boasts a true ‘Two Amplifiers in One’ design. Not only do AMP 1 and
AMP 2 have totally separate valve pre-amplifier circuits, each housing an
ECC83 valve, the MF350’s power amp section completely reconfigures
itself depending on the AMP selected. Each AMP type having two
footswitchable modes further enhances flexibility. AMP 1 offers CLEAN
and CRUNCH, while AMP 2 has OD1 and OD2.
AMP 1
AMP 1 is the ‘Classic’ side of the Mode Four. Whenever it is selected, the
power amp reconfigures to recreate the unmistakable sound and feel of
our world-renowned 100 Watt valve power stage. Using this as a sonic
foundation, AMP 1 produces Marshall’s legendary open roar. While
AMP 1’s CLEAN mode produces incredibly dynamic, three-dimensional
clean and bluesy crunch sounds, selecting CRUNCH unleashes the
unbridled aggression and bite of a 2203, but with levels of gain never
imagined in 1981 when the much-lauded JCM800 series was first
launched.
AMP 2
In terms of sheer gain, AMP 2 takes over from where AMP 1 leaves
off, with OD2 mode offering more gain than any other Marshall
before! Thanks to the Mode Four’s radical design, the player retains
22
maximum control while searching for the ultimate high-gain signature
sound. Whenever AMP 2 is selected, the Mode Four’s power section
reconfigures itself so it can create the deep, dark-sounding, loose
low-end that has proven so popular with many modern players who
either detune regular 6-strings, or use 7-string or detuned Baritone
guitars.
The Power to Deliver
Due to the unique design and the incredibly high headroom the
Mode Four’s 350 Watt power stage possesses, AMP 2’s impressively
wide bottom-end not only has the sound and feel of an all-valve amp,
it also doesn’t lose definition at high stage volumes – a problem that
many other similar sounding, all-valve systems suffer from.
Fully Loaded for Professional Use
The Mode Four was created with the professional guitarist in mind and
boasts a host of carefully thought out features that have been designed
to give you the ultimate in flexibility and control. These include:
• Separate controls for Gain, Volume, Bass, Middle and Treble for
AMP 1 & AMP 2.
• Individually voiced Scoop switches for AMP 1 & AMP 2.
• AMP 2 has a 3-way Tone Matrix control, enabling you to dramatically
reconfigure the all-important mids, while leaving the Bass, Middle and
Treble controls fully interactive with each other.
• Footswitchable, built-in Digital Reverb with separate controls for AMP 1
& AMP 2.
• Parallel to Series FX Loop with individual FX Level controls for AMP 1
& AMP 2.
• Footswitchable Solo Level control that gives a level increase across all
four modes of up to 6dB (i.e. twice the volume).
• Master controls for Resonance, Presence and Volume.
• Tuner Out jack with a front panel Tuner Mute switch for ‘silent’ tuning.
• XLR and 1/4" jack Emulated Line Outputs.
• Load Protection Circuitry.
• 6-way LED Footcontroller supplied.
MF280 & MF400
As you’d expect from the company that invented the ‘stack’, the
Mode Four Series 4x12"s benefit from our forty years of cabinet
expertise. The MF280 (280 Watt) and MF400 (400 Watt) cabinets
are specially engineered to reproduce the balanced mid range
and huge bottom end that are a pre-requisite for modern
rock/metal sounds, and being 3 inches taller than standard 1960
cabinets a Mode Four stack is truly a sight to behold!
We recommend the MF280A (angled) and B (base) for a full
stack and the MF400A or B for a half stack.
FEATURES
MF350
Output (RMS)
350 Watts into 8 Ohms
‘Two Amps in One’ Design
Number of Footswitchable Modes
Independent Tone Network (per Amp)
Scoop Switches
Tone Matrix (AMP 2)
Footswitchable Solo Boost
Footswitchable Digital Reverb
Series/Parallel FX Loop
Emulated Line Out (XLR & 1/4”jack)
Tuner Output
Tuner Mute
Footcontroller Extension Lead (not supplied)
Dimensions (mm)
Weight (kg)
✓
4
✓
✓ (x 2)
✓
✓
✓
✓
✓
✓
✓
PEDL-10032
CBLA-00043
750 x 310 x 215
24
FEATURES
Power (RMS)
Impedance
Dimensions (mm)
Weight (kg)
MF280A&B
MF400A&B
4 x 12”
4 x 12”
280 Watt
16 Ohm
768 x 820 x 365
400 Watt
8 Ohm
A - 762 x 820 x 365
B - 766 x 820 x 365
41.5
42.5
23
2203KK Kerry King Amplifier
2203KK Signature Head
Kerry King
“The 2203KK is my main head and
always will be!”
Right:
2203KK Head
MF280B Cab
MF280B Cab
Thunderous, dark and thumping metal tone – presenting
the new Kerry King JCM800 2203KK Signature amplifier.
As part of our on-going commitment to our loyal
artists, Marshall, in partnership with Kerry King, is
proud to have developed a new version of the
legendary 2203 based on Kerry’s own amplifier
nicknamed ‘The Beast’.
2203KK Head
The original JCM800 2203, initially launched in March 1981, proved
incredibly popular with rock guitarists in the ’80s and beyond, with its
distinctive roar and larger than life ‘edge’ it became, and still remains, the
standard that all other rock amps are judged on.
It was during this time that Kerry King, guitarist with Slayer (considered
one of the greatest metal bands in the world) picked up his golden child
‘The Beast’. Knowing that he wanted his guitar tone to be as individual as
he is, he added an EQ, but going against tradition he pushed the mids,
creating “a frown not a smile”. Alongside this he added a noise gate to
keep things quiet and accentuate his staccato playing style. Used in
countless shows and records over many years, the combination of
‘The Beast’ and this outboard equipment powered the sound of
Kerry King until the day he received the first 2203KK.
Kerry has used Marshall amplifiers throughout his hugely successful
career, to this day proudly bearing the Marshall logo when he performs
with a wall of 30 Marshall cabinets behind him. Marshall felt it only fitting
to produce a Signature amplifier for him.
With ‘The Beast’ and Kerry’s stage equipment in the safe hands of the
R&D team, they worked closely with Kerry to develop the tone, feel and
look of a great Marshall amp that defines the true attitude and power of
Kerry’s sound. Kerry’s hands-on approach to the project resulted in
numerous visits to the Marshall factory and putting the prototypes
vigorously through their paces, road testing each one and using three of
them every night of his 2006 and 2007 tours.
24
The 2203KK is a 100 Watt single channel, Master Volume, all-valve
UK made head. At its heart is a classic mid-’80s 2203 drawing on the
power and dynamics of ‘The Beast’ to take the sound further and placing
it at the cutting edge of modern rock tone. Additionally, its power stage
features four KT88 valves, adding extra warmth and girth to the sound.
With the amplifier, Kerry uses Mode Four MF280B cabinets, taking
advantage of their taller size to provide balanced mids and a huge
bottom end.
‘The Beast’ button engages Kerry King’s signature tone. Recreating the
sound of his original outboard equipment, it features a studio quality ultra
fast noise reducer, riding the signals dynamics but still maintaining the
natural sustain and very fast decays for staccato rhythms and short
pauses, the switch lights red when the circuit activates and green when
the signal is passed without attenuation. A custom-voiced EQ focusing a
gain boost on the mids has been specifically tuned to Kerry’s
specification. The gate and assault provide control over the guitar signal
allowing you to vary its threshold and intensity, truly capturing the ferocity
and force of Kerry’s sound.
The 2203KK features artwork inspired by Kerry’s many iconic tattoos.
Marshall has developed new techniques to allow designs to be printed
directly onto the fret cloth, allowing this distinctive design to leave the
front panel and expand over the amp’s baffle. The tribal tattoo motif trails
over the brushed gold panel pointing to ‘The Beast’ switch and the style
of the panel’s text is taken directly from one of Kerry’s tattoos. The motif
and text are used across the whole design.
FEATURES
Head
Output (RMS)
3 Band EQ
Pre-Amp Valves
Power Amp Valves
Dimensions (mm)
Weight (kg)
2203KK
✓
100 Watt
✓
3 x ECC83
4 x KT88
750 x 310 x 215
21.5
Included with the amplifier are:
• A heavy duty dustcover featuring custom artwork
• Five Kerry King Signature plectrums
• An A4 colour handbook with handwritten notes from Kerry and
featuring exclusive photographs
Leaving the last word to Kerry:
“. . . the 2203KK is now my main head and always will be. Crank it up
and enjoy the best amp on the planet!!!”
25
Jimi Hendrix Amplifier
Super 100JH Head • 1982AJH/1982BJH Cabs
Jimi Hendrix
“I love my Marshall amps: I am nothing
without them!”
Right:
Super 100JH Head
1982JHA Cab
1982JHB Cab
“Jimi Hendrix was my greatest ambassador without any
doubt at all,” states the Guv’nor, Jim Marshall. “In my
book his playing is still the best ever and his showmanship
was fantastic. I can still remember him scaring the living
daylights out of all the big name English guitarists
because they’d never seen or heard anything like Jimi –
no one had.”
Super 100JH Head
In close conjunction with Authentic Hendrix, the family company
established by Jimi’s father, the late James Al Hendrix, and after many
months of painstaking research, we are proud to announce the limited
edition, handwired ‘Super 100JH’ 100 Watt stack. This is the latest
addition to our ongoing series of handwired re-issues. It celebrates the
40th Anniversary of our world famous association with the late, great
Jimi Hendrix and pays homage to the legendary guitarist.
“Anyone who truly knew Jimi was well aware of how seriously he took his
instruments and equipment,” states Janie Hendrix, the President/CEO of
Authentic Hendrix. “To achieve the sound he heard playing inside, he
had to have the right tools. Gauging from his performances, he clearly
embraced Marshall amps. We too, embrace Marshall because it allowed
us to hear Jimi as we never would have before, with the truest sound and
most feeling. We are happy to see the past reborn in the form of this
Jimi Hendrix amp stack. It is our pleasure to partner with Marshall
Amplification in giving volume to the legacy of Jimi.”
After hearing and then playing through a Marshall stack for the first time
while in London during the Autumn of 1966, Jimi Hendrix wanted to meet
the man who created these amplifiers and coincidentally shared his first
and middle names – James Marshall! Thus, in October of that year, the
guitarist visited Jim’s shop in Hanwell and a lasting friendship and
association was immediately struck. “Despite his somewhat wild
appearance and his incredible, larger-than-life on-stage persona, Jimi
was a very softly spoken and extremely polite young man with a fantastic
26
sense of humour,” Dr Marshall recalls. “We hit it off right away and
became good friends.” On leaving Jim’s shop, Jimi had secured an
order for his 100 Watt Marshall stacks and, as the saying goes, the rest
of the story is now history . . .
“Meeting Jim was beyond groovy for me,” Jimi was quoted as saying
about his visit to the Marshall shop in Hanwell. “It was such a relief to talk
to someone who knows and cares about sound. Jim really listened to me
and answered a lot of questions. I love my Marshall amps: I am nothing
without them!”
The Jimi Hendrix stack consists of the Super 100JH head, the angled
1982AJH 4x12” and the extra-tall, straight-fronted 1982BJH 4x12”
cabinets. The original versions of this iconic, tall, pinstriped stack were
built in 1966 and the Super 100 head was the immediate successor to
Marshall’s first ever 100 Watt head – the famous dual output transformer
JTM45/100.
Extensive research and discussions with technicians and roadies of the
period has indicated that Hendrix’s Super 100 Marshall heads were
completely stock except for tonal enhancements requested by Jimi
himself. Slight circuit modifications in our main reference’s tone stack
support this. The limited edition Super 100JH head is a meticulous and
totally authentic handwired re-issue of these heads, complete with the
aforementioned modification which adds slightly more treble and bass.
The Super 100JH is an extremely straightforward amplifier. Its two
channels – High Treble and Normal – each have two inputs (High and
Low sensitivity) and separate Loudness (Volume) controls. Both channels
share the amplifier’s four tone controls: Treble, Middle, Bass and
Presence. It contains three ECC83 (12AX7) valves in the pre-amp and a
quartet of KT66 valves in the power amp, the latter being standard issue
in mid-sixties Marshall Amplifiers. The all-important transformers are built
by the original manufacturer Drake.
The Super 100JH stack’s two 4x12” speaker cabinets – the angled
1982AJH and straight 1982BJH – have been reintroduced to complete
the majestic look of the original pinstriped stacks that Jimi used. The
1982BJH is nearly 7” taller than a standard Marshall 4x12”, adding
further to the impressive look of the stack. Both JH cabs are loaded with
Celestion G12C 25 Watt speakers, which have been specially developed
by Marshall and Celestion to duplicate the sound of the original speakers
found in authentic reference cabinets from that era.
A limited run of 600 Super 100JH Jimi Hendrix stacks will be available
worldwide. Each head is individually numbered and comes with an
exclusive certificate, personally signed by Dr Jim Marshall OBE. The
certificate and handbook will come housed in a unique presentation
folder. Also included are a full set of heavy duty ‘script logo’ dust covers.
Each head and cabinet set bears the official Authentic Hendrix logo.
FEATURES
Head
Output (RMS)
Channels
4 Band EQ
Pre-Amp Valves
Power Amp Valves
Dimensions (mm)
Weight (kg)
Super 100JH
✓
100 Watt
2
✓
3 x ECC83
4 x KT66
741 x 270 x 210
22
CABINET SPECIFICATIONS
FEATURES
Power (RMS)
Impedance
Dimensions (mm)
Weight (kg)
1982AJH
1982BJH
4 x 12”
4 x 12”
100 Watt
16 Ohm
754 x 741 x 355
36.4
100 Watt
16 Ohm
754 x 914 x 355
41.5
27
Effects Pedals
Regenerator • Reflector • Echohead
“All of these Marshall pedals tick the right boxes, both in terms
of their truly impressive build quality and, most importantly,
the sheer variety and quality of each pedal’s effects leaves
very little to be desired.” Tim Slater, Guitar Buyer magazine.
From left to right:
RG-1 Regenerator
RF-1 Reflector
EH-1 Echohead
For over 44 years the Marshall name has been
synonymous with the greatest guitar tones in all forms of
rock music. Our R&D department has gone to great
lengths to ensure that our pedals all exude that essential
ingredient – the ‘Marshall Sound.’
Now eight-strong, our range of effects pedals offer the
opportunity to augment classic Marshall tones or add
Marshall character to any guitar set-up.
In keeping with our world-renowned heads, cabinets and
Vintage Flanger – The versatile vintage effect let’s you go deep and
detune your sound to extremes. Turning up the Regen control causes the
effect to soar across your sound, while turning it down creates natural
flange effects.
Phaser – A rich phasing effect making your sound swell with energy,
creating fluid waves which wash around your tone.
Step Phaser – Adding a crystal staircase to the phaser allowing you to
trip around its sweeping textures.
Vintage Vibe – A subtle vibration that swirls around your playing, bringing
back memories of a classic sound not yet forgotten.
The Regenerator will entwine itself around your tone while leaving you in
full control. It’s every modulation pedal you’ll ever need.
combos, all Marshall pedals have been thoroughly road
tested and stomped on countless times to ensure optimum
performance and reliability.
Presenting the RG-1, RF-1 and EH-1. In addition to
possessing their own unique features, each of the three
new pedals boast the following: six digital modes, three
parameter controls per mode, passive bypass, stereo
outputs and optional control pedal input.
RG-1 Regenerator
The Regenerator is a chorus, a flanger and a phaser all in one sturdy
shell. This stereo modulation pedal offers six different modes for you to
explore:
Vintage Chorus – A classic chorus, adding mellow sweeps to high speed
vibrato and everything in-between to your sound.
Multi Chorus – Based upon Marshall’s classic Supervibe pedal, its
unique sweeping pattern allows you to create simple sweeps through to
complex ensemble sounds.
28
RF-1 Reflector
The cavernous Reflector reverb pedal projects your sound into the third
dimension. Six reverbs add diffuse trails to your playing without ever
swallowing your tone. It’s stereo outputs create reverbs with wide
spacious fields. Connecting an expression pedal to the RF-1 allows you
to open up the sound as you play.
Hall – A large, lush reverb, adding smooth diffuse trails to your tone
without ever drowning it.
Plate – Recreating the sound of a high quality studio plate reverb,
bringing space and presence to your tone.
Room – A small reverb, wrapping a subtle presence round your sound.
Spring 1 – Recreates the classic sound of a Spring Reverb with its
characteristic pulse and resonant ambience.
Spring 2 – This mode takes the sound of springs and infuses it with a
lush reverb that only a digital pedal could, providing you with the perfect
combination of old and new.
Reverse – The Reverse mode creates ghostly textures as your notes spill
backwards out into space before rushing up to your face.
With controls for Reverb Time, Damping and Level for each mode, you’ll
easily find the sound you’re looking for.
EH-1 Echohead
Create pulsing tones and add dense rhythmic textures to your sound.
The Echohead features a maximum delay time of 2000ms, stereo outputs
and a Tap Tempo input which allows you to externally control the delay
time with a simple tap of your foot. In addition to controls for Delay Time,
Feedback and Level, the EH-1 offers you six versatile modes.
Hi-Fi – A solid delay line throwing out crystal clear repeats of the input.
Analogue – Filters shape the echoes, adding a subtle tone and
recreating the sound of the guitar cascading through old analogue delay
circuits.
Tape Echo – The narrow bandwidth and unstable whir of a tape delay
inspired these ‘old school’ degenerating echoes. The random wow and
flutter of an old motor adds a warm organic chorus to the dark textured
delays.
Multi Tap – Multiple echoes pulse out of the pedal providing a dense
rhythmic sound.
Reverse – Sucking the sound out backwards, the Reverse mode trails
out a series of hypnotic repeats creating psychedelic textures.
Mod Filter – Sweeping across your sound, synced to your delay time, a
modulating filter adds movement and depth to the echoes.
The dual outputs offer the choice of using a passive bypass for the main
signal path to ensure complete tonal integrity or to allow your pedal to
spill-over, permitting your echo to naturally die away.
PEDAL SPECIFICATION: RG-1/RF-1/EH-1
FEATURES
RG-1
RF-1
EH-1
Passive Bypass
✓
✓
✓
On/Off Indicator
Mono/Stereo
Mode Select
Speed
Depth
Regen
Reverb Time
Damping
Delay Time
Feedback
Level
Expression Input
Tap Tempo Input
Weight (kg)
✓
S
✓
✓
✓
✓
No
No
No
No
No
✓
No
510g
✓
S
✓
No
No
No
✓
✓
No
No
✓
✓
No
510g
✓
S
✓
No
No
No
No
No
✓
✓
✓
No
✓
510g
29
Effects Pedals
Compressor • Jackhammer • Guv’nor Plus • Bluesbreaker II • Vibratrem
Charlotte Hatherley
Dan Fisher
(Ash)
(The Cooper Temple Clause)
“It’s what every woman needs!”
“Kicking in the Bluesbreaker pedal is a bit like
creeping up behind old ladies and popping a
balloon behind their heads to scare them.
Dark, thick and satisfying.”
From left to right:
ED-1 Compressor
JH-1 Jackhammer
GV-2 Guv’nor Plus
BB-2 Bluesbreaker II
VT-1 Vibratrem
Boutique amps and effects pedals can cost an
absolute fortune. However, with our range of effects
pedals the need for those specialist and expensive
units is at an end. Each one has been carefully
designed to give you the best possible range of
performance and maximum amount of control for the
minimum of cost.
Equally important, when you press the ‘off’ button,
your sound will return to being 100% pure and
untouched thanks to their completely passive bypass.
ED-1 Edward the Compressor
VT-1 Vibratrem
as authentically retro as you can get and its passive bypass ensures that
Take a step back in time to the British amps of the early sixties with the
Vibratrem’s authentic vintage effects. Its wave-shaping control allows you
to melt between two modulation pattern options, offering you everything
from groovy, trembling tremolos to psychedelic quasi-vibratos. The VT-1 is
your all-important guitar tone remains unaffected when you’re not taking a
GV-2 Guv’nor Plus
Add sustain to solos, even out attack and get rid of unwanted peaks
and troughs. For liquid leads, funky clean chords or choppy yet
consistent chicken pickin’, call on Edward the Compressor.
In addition, target the frequencies you want to compress with the
Emphasis control, which means that you can, for example, tighten up
or compress your bass notes and let your treble notes ring out.
Features: Controls for Emphasis, Volume, Attack and Compression.
Solid metal construction and passive bypass.
Shedloads of gain and loads of level, the GV-2 has all the power and
tone of our original, much-loved Guv’nor pedal – and beyond!
The GV-2’s expanded Gain structure allows you to steer your guitar tone
through many different styles and adding one to your set-up is just like
adding another Marshall amp to your rig.
Features: Controls for Gain, Bass, Middle, Treble, Deep (for a tight and
resonant low-end rumble) and Master Volume. Passive bypass and solid
metal construction.
JH-1 Jackhammer
This metallic monster boasts two modes (O/D and Dist), each of which
is loaded with ungodly gain plus all the tonal control you need to push your
guitar’s sound straight over the edge. From cranium-crushing crunch and
scooped modern metal mayhem to savage slamming solos, it’s unique
dual-control contour section gives you fearsome flexibility across the
mid-range, allowing you to focus your tone. The JH-1 is the most extreme
distortion pedal on the planet.
Features: Selector switch for O/D and Dist modes, controls for Gain,
Master Volume, Contour, Contour Frequency, Bass and Treble. Solid metal
casing and passive bypass.
BB-2 Bluesbreaker II
This bluesy bruiser is effectively two pedals in one – a tonally transparent
booster that gives your solos that extra lift, and a truly valve-like overdrive
that’s so rich in second order harmonics it’ll make your guitar gently weep.
Blues Mode is reminiscent of the tonal and distortion characteristics of our
non-Master Volume amps such as the classic Bluesbreaker combo from the
1960s. If that’s not enough, the BB-2’s completely passive bypass means
that you don’t lose any of your guitar’s pure tone when the pedal’s not in use!
Features: Mode switch to select Blues or Boost. Controls for Drive,
Tone and Volume. Solid metal casing and passive bypass.
spread. Solid metal casing and passive bypass.
PEDAL SPECIFICATION: JH-1 /GV-2 /BB-2
PEDAL SPECIFICATION: ED-1/VT-1
FEATURES
Vibratrem trip. Features: Mode switch to select Vibrato or Tremolo.
Controls for Speed, Depth and Wave Shape. Second output for stereo
ED-1
VT-1
Passive Bypass
✓
✓*
On/Off Indicator
Mode Select
Mono/Stereo
Emphasis
Volume
Attack
Compression
Speed
Depth
Wave
Filter
Shape
Weight (kg)
✓
No
M
✓
✓
✓
✓
No
No
No
No
No
510g
✓
✓ Vibrato/Tremolo
S
No
No
No
No
✓
✓
No
No
✓
510g
FEATURES
Passive Bypass
On/Off Indicator
Mode Select
Mono/Stereo
Volume
Gain
Bass
Middle
Treble
Contour
Contour Frequency
Deep
Tone Control
Weight (kg)
JH-1
GV-2
BB-2
✓
✓
✓
✓
✓ OD/Distort
M
✓
✓
✓
No
✓
✓
✓
No
No
510g
✓
No
M
✓
✓
✓
✓
✓
No
No
✓
No
510g
✓
✓ Boost/Blues
M
✓
Drive
No
No
No
No
No
No
✓
510g
* Main (Mono) Signal Path
30
31
1960 Extension Cabinets
1960 4x12”Cabs (A/B & AV/BV) • 1960 ‘Greenback’ loaded 4x12”Cabs (AX/BX, TV)
Steve Harris
(Iron Maiden)
“Marshall are the ONLY cabs I have used
for as long as I can remember!”
Jeff Hanneman
(Slayer)
“I use Marshall because it’s the most intense amp
ever. I would not play anything else. If I had to play
anything else I’d set it on fire and destroy it.”
Left to right:
1960A Cab
1960B Cab
1960TV Cab
1960AX Cab
1960BX Cab
The only choice for serious musicians. Nothing compares
to Marshall cabinets in terms of awesome tone and
projection. Both visually and aurally, Marshall cabs are
indeed ‘the business!’ Roadworthiness is a vital
prerequisite in the world of relentless touring and as our
40 years of cabinet building attests, Marshall cabinets are
definitely built to stand the test of time!
The Marshall Stack
Nothing personifies the image of rock ‘n’ roll more completely than a wall
of Marshall stacks. Though often imitated, nothing compares to the
original. The world’s first ever 4x12" cab was designed and built by
Jim Marshall in 1962, and with it a legend was born. Since then we have
made countless thousands, which have appeared on stages all over
the globe.
Following close on the heels of the immediate success of the Marshall
4x12", came the first ever stack – namely, an angle-fronted cab on top of
a straight-fronted cab, with an amplifier head placed on top. This came
about after discussions with Pete Townshend of The Who. Pete asked
Jim to build him an 8x12" cab with an angled front – the Guv’nor agreed,
but warned the guitarist that the cab would be extremely difficult to move.
Nevertheless, Pete insisted, so six of these awesome cabinets were built.
After being bombarded with complaints from his road crew, Pete
returned to Jim to look for a more practical approach to building this
wonderful sounding behemoth. ‘We’ll cut the cab in half,’ was Jim’s
immediate reply, and thus, the legendary Marshall stack came into
being! What happened to the six 8x12" cabs we hear you ask? Well, two
went to Pete Townshend, two went to John Entwhistle (The Who’s
bassist) and the remaining pair went to the Small Faces.
Public reaction to the impressive look and equally impressive sound of
the Marshall stack was incredible from the start and, not surprisingly, it
has stayed in production ever since. As a result, this immediately
recognisable rock ‘n’ roll icon can be found anywhere and everywhere
that electric guitar is played! As we invented the stack, Marshall 4x12"s
are the only true originals – everything else is merely an imitation.
32
Speaker’s Corner
To satisfy the increasingly diverse tastes of the modern guitarist, Marshall
1960s are available with three different types of Celestion speakers:
a) Standard 75 Watt ‘G12T-75’ speakers (1960A/B).
b) The warm sounding 70 Watt ‘Vintage’ speakers (1960AV/BV).
c) Re-issue 25 Watt Greenbacks, ‘G12M-25’ (1960AX/BX & TV).
Each speaker type has its own individual character, so we urge you to try
all three flavours before making your final decision. The 1960AX/BX and
1960TV cabs are loaded with 25 Watt ‘Greenback’ speakers. In order to
recreate the classic looks as well as the classic tones of yesteryear, the
AX and BX sport a smoother ‘Levant’ covering and chequered fret cloth.
The 1960TV is finished with the earlier style ‘EC’ fret cloth and is three
inches taller than a standard 4x12" – hence the ‘TV’ in its name which is
an acronym for ‘Tall, Vintage.’
Features
All our cabinets share the same high quality of design and craftsmanship.
Our highest quality woodwork includes the ‘finger locking’ of each and
every joint. This helps give our cabinets the incredible strength and
durability which has become as legendary as the Marshall sound itself.
A godsend to all gigging guitarists and roadies are the heavy duty
castors fitted as standard on all 1960 cabinets ensuring that they’re
ready to roll without rocking.
FEATURES
Speaker Type
Power (RMS)
Selectable (Mono/Stereo)
Mono Impedance
Stereo Impedance
Dimensions (mm)
Weight (kg) – Type A
Weight (kg) – Type B
1960A/B
1960AX/BX
1960TV
1960AV/BV
✓(A)
✓(B)
✓(AX)
✓(BX)
✓
✓(AV)
✓(BV)
G12T-75
4 x 12"
300 Watt
✓
16/4 Ohm
8 Ohm
770 x 755 x 365
36.4
37
G12M-25
4 x 12"
100 Watt
No
No
G12M-25
4 x 12"
100 Watt
No
G12 Vintage (70 Watt)
4 x 12"
280 Watt
16 Ohm
16 Ohm
16/4 Ohm
N/A
760 x 830 x 360
37.7
38.2
N/A
770 x 820 x 365
39
N/A
760 x 830 x 360
40.6
41.4
✓
8 Ohm
33
Extension Cabinets
MC412 4x12”Cabs (A/B) • MC212 2x12” Cab • 1912/1922/1936/1936V Extension Cabs
Corey Beaulieu
(Trivium)
“I’ve played a lot of guitar cabs and the
1960BV has all the power and tone I’ve been
looking for. Marshall is by far the best there is
and the only company I trust to give me the
crushing tone I need.”
NEW for 2007
Below:
MC412A Cab
MC412B Cab
MC212 Cab
Kerry King
(Slayer)
“If I stand in front of my rig, if my nuts ain’t
shaking then I ain’t satisfied . . . and the only
stuff that can do that is my Marshalls!”
MC Series: MC412A, MC412B & MC212
The sonic power and iconic presence of a full stack has been the dream
of many guitarists. New for 2007, Marshall fulfils those dreams and
presents the MC cabinet series – A series of entry level cabinets that for
the first time puts a real Marshall full size 4x12" stack in reach of many.
Made at our UK factory and loaded with Celestion speakers, our
engineers have worked hard to ensure that these are the most affordable
full size Marshall cabinets available, while still providing the sonics and
build quality that are more than worthy of the badge they wear. The
MC412s 200 Watts of power, combined with the same flexible
Mono/Stereo switching of our 1960s, means it will handle any Marshall
guitar head with ease. We recommend using 4 Ohms for getting full
power out of the MG and AVT heads, while the 16 Ohms setting is
preferrable for use with our valve heads. Completing the series is the
MC212 130 Watt 2x12".
Compact Cabinets
Although all our Stereo/Mono 4x12"s are perfect for use with stereo rack
systems, we also produce a range of smaller, Celestion-loaded 2x12"
and 1x12" cabinets, ideally suited for use with such set-ups or as
extension cabinets for combos. The compact, but full sounding,1912
150 Watt 1x12" can be used as an extension cab for a 1x12" combo or
with another 1912 to create a highly portable stereo rack set-up. The
1922 2x12" cab has Mono or Stereo options and is ideal for a rack
system or as an extension cabinet for a 2x12" combo. The larger 1936,
also has Mono/Stereo options and is great for a larger rack system. It fits
a full size Marshall head perfectly too, giving you a compact 2x12" stack.
Whatever your rig, with our unrivalled sound and construction
techniques, Marshall offers a wide range of cabinets that are not only
perfect for your needs . . . they will also last you a lifetime.
MC212 2x12"s also have a non-switchable stereo option.
Due to demand, we have made the 1936 cabinet available with
Marshall/Celestion ‘Vintage’ 70 Watt speakers. Named the 1936V, this
2x12" cabinet has the same portable dimensions as the standard 1936,
while offering you the option of that warm ‘Vintage’ speaker tone.
Touring Pro Series Covers
To ensure your cabinet stays looking as new as the day it left the
Marshall factory, we offer professional padded touring covers for added
protection.
CABINET SPECIFICATION: MC412A/B & MC212
FEATURES
Speaker Type
Power (RMS)
Impedance (Mono)
Impedance (Stereo)
Dimensions (mm) (A & B)
Weight (kg) – Type A
Weight (kg) – Type B
MC412A/B
MC212
✓ (A)
✓ (B)
No
Platform 50
4 x 12"
200 Watt
Platform 65
2 x 12"
130 Watt
✓
✓
✓
16/4 Ohm
8 Ohm
770 x 755 x 365
34.0
34.0
4 Ohm
8 Ohm
745 x 530 x 310
23.0
n/a
CABINET SPECIFICATION: 1912/1922/1936/1936V
FEATURES
Speaker Type
Power (RMS)
Impedance (Mono)
Impedance (Stereo)
Dimensions (mm)
Weight (kg)
1912
1922
1936
✓
✓
✓
1936V
✓
G12B-150
1 x 12"
150 Watt
No
G12T-75
2 x 12"
150 Watt
G12T-75
2 x 12"
150 Watt
G12 Vintage
2 x 12"
140 Watt
✓
✓
✓
8 Ohm
8 Ohm
8 Ohm
8 Ohm
No
510 x 465 x 290
14.6
16 Ohm
16 Ohm
16 Ohm
675 x 515 x 260
19
740 x 600 x 305
24.6
740 x 600 x 305
24.6
From left to right:
1922 Cab
1912 Cab
1936 Cab
1936V Cab
Mono/Stereo Switching
To ensure the ultimate in flexibility, six of our standard 4x12"s are
switchable between Mono (4 or 16 Ohms) and Stereo (8 Ohms per side).
The cabs in question are the 1960A (angled), 1960B (straight), 1960AV
(angled), 1960BV (straight), MC412A (angled) and MC412B (straight).
The two Mono impedance options (16/4 Ohms) provide extra amp
matching capabilities, while the cabinets’ stereo capability makes them
ideal for rack systems which typically run in stereo. The 1922,1936 and
34
35
AVTX Amplifiers
AVT20X Combo • AVT50X Combo • AVT50HX Head
From left to right:
AVT20X Combo
AVT50X Combo
AVT50HX Head
AVT412XA Cab
AVT412XB Cab
Our Advanced Valvestate Technology (AVT) line of amplifiers
is the culmination of over a decade’s worth of evolution and
innovation. The concept is incredibly straightforward – to
capture the unique sound and feel of a Marshall all-valve
amplifier via hybrid technology. The AVT series ranges from
the compact 20 Watt AVT20X, right the way up to the four
channel, digital effects touting 150 Watt AVT150HX head.
All models boast proprietary Celestion speakers and feature
a new contemporary look and all AVT50X, 100X and 150X
models include automatic variable speed fans, ensuring
AVT’s place as the market leader.
Valve-Driven Pre-amp
Every AVT pre-amp is driven by an ECC83 (a.k.a.12AX7) Dual Triode
valve. By utilising both sides of this valve in the pre-amp’s gain
generating circuitry, the resulting tone is both complex and harmonically
rich. Thanks to this, clean sounds ring with the bell-like harmonics that
normally only an all-valve amp can deliver. Similarly, whenever you select
an AVT Overdrive channel, the ECC83 is saturated to its limit, providing
dynamics and feel worthy of a place in the Marshall hall of fame.
Power Amp Delivery
The same, unrivalled design expertise that went into the pre-amp was
also channelled into the design of the AVT power amp stage. Each one
features frequency dependent power amp damping (a complex and
vitally important tone shaping trait found in all of our valve-driven power
stages) and our proprietary Dynamic Clip Level Technology (which
emulates the unique behaviour of the HT supply of a valve power amp).
Each AVT power stage creates the warm, musical feel and 3-dimensional
sounds that have made our all-valve power amps world famous.
Extended Bass Response Speakers & Speaker Emulation
Knowing the importance of the relationship between power amplifiers and
36
loudspeakers, we developed a range of Celestion speakers that
revolutionise the cutting-edge in rock guitar sound reproduction. These
speakers allow the compact, closed-back combos in the AVT range to
produce the low-end delivery normally only associated with a Marshall
4x12". All AVT amps also feature our acclaimed speaker emulation, so
recording a great guitar sound directly is literally only a guitar cable away.
AVT20X Combo
The superb quality of the AVT20X’s ECC83 enhanced Clean and
Overdrive modes has changed guitar players’ expectations of lower
powered, compact combos. In addition to great tones, the AVT20X
features a CD input, Speaker Emulated DI output, Headphone jack
(which mutes the speaker for ‘silent’ practice), Extension Speaker jack,
built-in Accutronics Spring Reverb, closed-back cabinet and special
10" Celestion speaker. If you want quality clean and overdrive tones at
manageable volume levels then the AVT20X is the way to go.
AVT50X Combo
If you believe that 50 Watts of solid-state power isn’t sufficient to gig with,
then think again, because the AVT50X is definitely the exception to that
rule! Its two footswitchable channels deliver glistening, ECC83-driven
clean tones and a roaring crunch that just oozes vintage authenticity.
Contemporary, high gain sounds that pack an unbelievable focus and
punch are also possible, thanks to the extremes of gain available,
coupled with the closed-back cabinet and custom 12" Celestion speaker.
Other features include a CD input, a Headphone jack for ‘silent’ practice,
a Speaker Emulated DI output, an Accutronics Spring Reverb, a Series
FX Loop and a sturdy LED footswitch (supplied).
AMPLIFIER/CABINET SPECIFICATION
FEATURES
AVT20X
AVT50X
Output (RMS)
20 Watt
50 Watt
50 Watt
8 Ohm
1 x 10”
1
✓
No
✓
✓
No
1 ext
✓
No
510 x 465 x 270
14
4 Ohm
1 x 12”
2
✓
✓ (Series)
✓
✓
✓
1 int/ext
✓
PEDL-10001
550 x 515 x 290
19
Min 4 Ohm
No
2
✓
✓(Series)
✓
✓
✓
2 ext
✓
PEDL-10001
680 x 280 x 260
12
AVT412XA
AVT412XB
AVT112X
4 x 12”
4 x 12”
1 x 12”
200 Watt
8 Ohm
690 x 695 x 365
32
200 Watt
8 Ohm
690 x 695 x 365
33
100 Watt
8 Ohm
605 x 545 x 295
23
Impedance
Speaker
Channels
Accutronics Reverb
FX Loop
Emulated Line Out
Headphone Jack
Master Volume
Speaker Outputs
CD Input
Dimensions (mm)
Weight (kg)
FEATURES
Power (RMS)
Impedance
Dimensions (mm)
Weight (kg)
AVT50HX
AVT50HX Head
The AVT50HX is the head version of the AVT50X combo and is armed
with the exact same killer features and tones. When driving the purposebuilt AVT412XA (angled) and AVT412XB (straight) Celestion-loaded
4x12" cabinets, it delivers the extra depth and sheer tonal weight which
only a Marshall stack or half stack is capable of!
37
AVTX Amplifiers
AVT100X Combo • AVT150X Combo • AVT150HX Head • AVT275X Combo
Mike Mushok
(Staind)
“The AVT20 is a great tool for me – it’s a really good
sounding practice amp that I use to work on new ideas
or warm-up before a show. I play Marshall live and it
gives me a great representation of my live sound in a
small, sturdy package.”
From left to right:
AVT100X Combo
AVT275X Combo
AVT150HX Head
AVT412XA Cab
AVT412XB Cab
AVT150X Combo
AVT112X Cab
The higher powered AVT models contain all the tonal and
performance benefits outlined on the previous page, but
additionally, all feature on-board DFX (digital effects) sections,
each one having 16 adjustable, custom-voiced effects. They
are also supplied with a sturdy LED footcontroller, which
allows the user to switch the DFX on/off in addition to
selecting channels. Great care was taken to integrate the
DFX into the tonal topology of AVT without having any
negative impact on the all-important integrity of your sound.
AVT100X Combo
In addition to housing 16 adjustable DFX, this combo has three channels,
each one voiced to give the broadest possible range of tones.
Clean: From the cleanest clean to a natural, valve-induced, bluesy
crunch and anywhere in-between. A Bright Switch enhances high-end
definition at low Gain settings.
Overdrive 1: Takes you from the dynamic raunch of a 1959 ‘Plexi’ to the
larger-than-life crunch of a cranked JCM800. A Scoop switch
reconfigures the EQ to give you that classic thrash sound of the ’80s.
Overdrive 2: From the primal angst of a hot-rodded JCM800 to extreme
gain. Hit the Scoop switch to produce the brutal, bone-crushing slam of
modern metal.
The 16 DFX are adjusted by the following controls: DFX Mix, DFX Adjust
and DFX Select. A Parallel FX Loop, complete with Mix control, is also
included for added flexibility. The supplied 4-way LED footcontroller
allows you to switch seamlessly between the AVT100X’s three channels
and switch the DFX on/off. Other features include a Headphone jack and
a Speaker Emulated Line Out.
AVT150X Combo & AVT150HX Head
These two AVTs boast more channels and features than any Valvestate
38
amplifier before. Their four channels are: Acoustic Simulator, Clean,
Overdrive 1 and Overdrive 2. The Clean, Overdrive 1 and Overdrive 2
channels are identical in terms of voicing and features to those found on
the AVT100X. As its name suggests, the Acoustic Simulator channel
transforms the sound of a standard electric guitar into that of an acoustic
guitar with amazing authenticity.
Referring to a Guitarist magazine review: ‘The Acoustic Simulator is a
brilliant idea – a first for a non-digital amp – and the tonal effect is
extremely convincing with single coil pickups, allowing a guitarist to
switch instantly from electric to acoustic sounds without changing
guitars or amps.’
For even further flexibility, the AVT150X and AVT150HX house a pair of
adjustable DFX Sections – one for the Acoustic/Clean channels and
the other for Overdrive 1/Overdrive 2. Both DFX Sections are on/off
footswitchable via the supplied 6-way LED footcontroller.
FEATURES
AVT100X
AVT150X
AVT150HX
AVT275X
Output (RMS)
100 Watt
150 Watt
150 Watt
2 x 75 Watt
8 Ohm
1 x 12”
3
No
✓
✓
✓
✓
✓ (x 2)
✓
✓
✓
✓
✓
1 int/ext
PEDL-10030
605 x 545 x 295
24.2
4 Ohm
1 x 12”
4
✓
✓ (x 2)
✓
✓
✓ (x 2)
✓ (x 2)
✓
✓
✓
✓
✓
1 int/ext 1 ext
PEDL-10031
605 x 545 x 295
28
Min 4 Ohm
No
4
✓
✓ (x 2)
✓
✓
✓ (x 2)
✓ (x 2)
✓
✓
✓
✓
✓
2 ext
PEDL-10031
680 x 305 x 260
16
2 x 8 Ohm
2 x 12”
4
✓
✓ (x 2)
✓
✓
✓ (x 2)
✓ (x 2)
✓
✓ (Stereo)
✓
✓
✓
2 int/ext
PEDL-10031
680 x 545 x 295
34
Impedence
Speaker
Channels
Acoustic Simulator
Digital FX + Select Switch
Parallel FX Loop
FX Level Switch
FX Mix Control(s)
Scoop Switches
Bright Switch
Emulated Line Out
Headphone Jack
Master Volume
Master Presence Control
Speaker Outputs
Footcontroller (supplied)
Dimensions (mm)
Weight (kg)
AVT275X Combo
This stereo combo has the same four channels as the AVT150X, but its
2x12" format allows its two DFX Sections to add an incredibly rich, stereo
dimension to your sound. In keeping with this, both the Parallel FX Loop
and Speaker Emulated DI output are also stereo. A Headphone jack and
a supplied 6-way LED footcontroller completes the line-up for this
incredibly versatile combo.
AVT Speaker Cabinets
The AVT Series includes three Celestion-loaded extension cabinets:
AVT112X – a 100 Watt, 8 Ohm, 1x12", cabinet designed to complement
the AVT150X. When added it increases the already impressive, punchy
bass response of the combo even further.
AVT412XA – 200 Watt, 8 Ohm, 4x12" cabinet with angled front. Voiced to
complement the AVT50HX and AVT150HX heads, this compact cab
makes for an extremely portable half-stack.
AVT412XB – 200 Watt, 8 Ohm, 4x12" cab with straight front. When
combined with the AVT412XA and an AVT head, the unmistakably
powerful sight and sound of a Marshall stack is born!
39
MG Series Amplifiers
MG10CD • MG15CD • MG15CDR • MG15DFX • MG30DFX
From left to right:
MG10CD
MG15CD
MG15CDR
MG15DFX
MG30DFX
The MG Series raises the standard for what can be
expected from a value-for-money range of guitar amplifiers
and defines a new benchmark. All of the guitar combos
boast FDD (Frequency Dependent Damping) – a radical
new feature that is exclusive to Marshall Amplification and
accurately mimics the way an all-valve amplifier interacts
with a loudspeaker. As a result of FDD, your amp will give
you a sound and feel never before thought possible in
such an affordable, non-valve amp.
MG10CD Combo
The mammoth roar of this 10 Watt, twin channel, mini monster has to be
heard to be believed! Coupled with great features like FDD (see above),
a CD input, Emulated Headphone jack and Emulated Line Out, this
sturdy 1x61/2" combo is the perfect entry-level practice amplifier . . . and
it’s great for backstage warm-up too.
Features: Twin channels, controls for Clean Volume, Overdrive Gain and
Volume plus a Contour control which sweeps the mids, Speaker
Emulated Headphone and Line Out, CD input and FDD.
MG15CD Combo
Armed with two channels, a three-band EQ, FDD and 15 Watt RMS of
real Marshall power, the 1x8" MG15CD combo delivers superb tone –
from pristine clean to out and out filth! The ultra-flexible Contour control
allows you to fine-tune the all-important mids from woody and warm to
scooped and slammin’ . . . and all points in-between.
Volume plus Bass, Contour and Treble tone controls, Speaker Emulated
Headphone and Line Out, CD input and FDD switch.
MG15CDR Combo
Already hailed a classic, the MG15CDR adds a natural sounding Spring
Reverb to all the outstanding features and tonal flexibility of the MG15CD.
40
Headphone and Line Out, CD input, Spring Reverb and FDD switch.
MG15DFX Combo
This twin channel, 1x8" combo is the most affordable Marshall to ever
house Digital Effects (DFX). Its impressive array of Reverb, Chorus,
Flange and Delay effects are easy to dial-in and sound incredibly natural.
With CD input plus Speaker Emulated Headphone and Line Out jacks,
this feature-laden package is hard to beat!
Headphone and Line Out, CD input, DFX and FDD switch.
MG30DFX Combo
30 Watts of power and a custom-voiced 10" speaker gives the MG30DFX
all the girth and grind of its bigger brothers in a compact, rugged
package. Footswitchable Clean and Overdrive channels with
independent tone controls add to its already impressive features.
Features: Twin, footswitchable channels (footswitch optional) – Clean and
Overdrive. Clean channel has its own Volume, Bass and Treble controls,
Overdrive channel boasts controls for Gain, Bass, Contour, Treble and
Volume plus Speaker Emulated Headphone and Line Out, CD input,
DFX, FDD switch and a custom-voiced 10" speaker.
Lessons Online: www.marshallamps.com
For those of you just starting to play guitar, we offer a free ten lesson
tuition course within our website. This also covers basic maintenance
and gives ‘setting-up’ tips.
FEATURES
MG10CD
MG15CD
MG15CDR
MG15DFX
MG30DFX
10 Watt
15 Watt
15 Watt
15 Watt
30 Watt
2
No
2
No
2
No
2
No
✓
✓
✓
✓
✓
✓
✓
✓
✓
No
No
No
No
✓
✓
✓
✓
✓
✓
✓
✓
No
No
No
✓
✓
✓
✓
✓
✓
✓
1 x 61/2"
300 x 310 x 190
5
1 x 8"
383 x 376 x 206
7.2
1 x 8"
380 x 375 x 205
7.2
1 x 8"
380 x 375 x 205
7.2
1 x 10"
480 x 420 x 245
9.6
Output (RMS)
Channels
Footswitchable Channels
CD Input
Emulated Line Out
Emulated Headphone Jack
Spring Reverb
Digital FX
FDD
Speaker
Dimensions (mm) – Made in China
Weight (kg)
2
41
MG Series Amplifiers
MG50DFX Combo • MG100DFX Combo • MG100HDFX Head • MG250DFX Combo • MG412A/B Cabs
Wayne Static
(Static-X)
“I love the old MG100RCD head but the new MG100HDFX is
even better – it has a bigger, tighter low-end and even more
gain, making it perfect for the crunchy, detuned rhythms I do.
The ‘magic button’ (the FDD switch), is a big selling point as
well – it allows the HDFX to sound great at any volume
because it maintains tightness and bite.The built-in effects are
nice too, they sound great and it’s really easy to dial them in.”
From left to right:
MG250DFX Combo
MG50DFX Combo
MG100HDFX Head
MG412A Cab
MG100DFX Combo
Packed with tone and loaded with features, each and
every one of the solid-state MG Series amplifiers gives you
the unmistakable sound quality, dynamic feel and high
performance that has made Marshall the number one
choice for guitarists all over the globe for the past four
decades.
MG50DFX Combo
Delivering 50 Watt RMS of Marshall power through its custom-designed
12" speaker, the twin channel MG50DFX delivers the goods both at
home and on stage. Each footswitchable channel has its own set of tone
controls for maximum flexibility. In addition to producing great clean
sounds, when you crank up the Clean channel’s Gain control you get a
raunchy, blues-tinged crunch. As you’d expect from a Marshall, the
Overdrive channel has gain to spare and also boasts the now legendary
Valvestate-style Contour control which allows you to ‘scoop out’ or ‘fill in’
the all-important mids.
The specially-voiced DFX section offers Chorus/Delay, Delay, Chorus and
Flange effects, plus a natural sounding digital Reverb with its own
individual Level control. Add to this our revolutionary FDD, footswitchable
channels, a Series Effects Loop and Speaker Emulated Headphones
and Line Out plus a CD input, which allows you to plug in a CD or
cassette player and jam along with your favourite artist or band and you
have an unbeatable package for the price.
modes – Clean/Crunch on the Clean Channel and OD1/OD2 on the
Overdrive Channel. Each channel has independent tone controls for
Bass, Middle and Treble, and the Overdrive Channel also features
our critically-acclaimed Contour control to ensure that all-important
tonal versatility.
Higher Gain settings on the Clean Channel will yield a healthy, bluesy
overdrive, especially when the ‘Crunch’ mode is selected. This said,
when in Clean mode, this channel has bags of headroom which makes
high levels of clean performance easily attainable. The Overdrive
Channel’s OD1 mode is reminiscent of the throaty drive that has made
our vintage amps famous, while OD2 is brimming with modern, high
gain aggression.
The MG100DFX’s specially-voiced footswitchable DFX section offers
Chorus/Delay, Delay, Chorus or Flange effects plus a natural sounding
digital Reverb with its own individual level control.
Add in our revolutionary FDD technology, a Parallel Effects Loop (with
switchable level and Effects Mix control), custom 12" speaker, CD input,
Speaker Emulated Headphones and Line Out plus a Master Volume
control and you have a world-beating combo.
FEATURES
MG50DFX
MG250DFX
MG100DFX
MG100HDFX
Output (RMS)
50 Watt
100 Watt (2 x 50 Watt)
100 Watt
100 Watt
2
✓
No
No
✓
✓
✓
✓
✓
✓
✓
✓
No
✓
1 x 12"
PEDL-90004
675 x 500 x 285
22
2
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
1 x 12"
PEDL-90004
595 x 540 x 270
22.4
2
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
No
PEDL-90004
595 x 250 x 270
12.8
2
Channels
Separate EQ per Channel
✓
Clean/Crunch Switch (Ch 1)
No
OD1/OD2 Switch (Ch 2)
No
Contour Control (Ch 2)
✓
Footswitchable Channels
✓
CD Input
✓
Emulated Line Out
✓
Emulated Headphone Jack
✓
Digital FX (footswitchable)
✓
Digital Reverb
✓
FX Loop
✓
FX Loop Level & Mix Control
No
FDD Switch
✓
Speaker
1 x 12"
PEDL-90004
Dimensions (mm)
520 x 500 x 285
16
Weight (kg)
MG100HDFX Head
Boasting the same impressive features and staggering versatility of the
MG100DFX combo, this awesome, 100 Watt head will drive any cabinet
from the Marshall range, but is best suited to the Celestion-loaded
MG412A (angled) and MG412B (straight) 120 Watt 4x12" cabinets.
Unbelievable tone, feel and projection come as standard.
MG250DFX Combo
Double the power of the feature-loaded, versatile MG50DFX and you get
the MG250DFX with its stereo, 50 Watt + 50 Watt power amp driving
2x12" custom speakers – awesome!
MG100DFX Combo
This compact, gig-ready, 100 Watt, 1x12" combo is a powerhouse of
killer tone. Its two footswitchable channels offer a pair of selectable
42
FEATURES
Power (RMS)
Impedance
Dimensions (mm)
Weight (kg)
MG412A
MG412B
4 x 12”
4 x 12”
120 Watt
8 Ohm
695 x 675 x 360
24
120 Watt
8 Ohm
695 x 675 x 360
24
43
Packages & Accessories
MG15MSII Microstack • Zakk MG15MSZW Microstack • Rockbox • Rockkit
Zakk Wylde
“The MG sounds totally slamming –
the overdrive is crushing . . .”
From left to right:
MG15MSII Microstack
Rockbox
Rockkit
MG15MSZW Microstack
Our two starter packages offer something for all budding
rock stars to be. Both packages include award-winning
high quality amplifiers as you would expect and a host of
other must-haves for the apprentice guitarist.
The MG15MSII Microstack is for all guitar players from
beginner to professional. It sounds and looks fantastic and
is the ultimate in “toys for the boys.”
MG15MSZW Zakk Microstack
Based on the MG15MSII Microstack, Zakk's longtime practice amplifier
of choice, the new Zakk Wylde Microstack offers Marshall-size tone in a
compact form sharing the unmistakable look of Zakk's trademark
Marshall ‘Wall of Doom’ he uses whenever he plays live.
The 2-channel (Clean & Overdrive) 15-Watt head powers two 1x10"
speaker cabinets, one angled and one base, for that classic Marshall
stack look. The MG15MSZW features Zakk's trademark bullseye motifs
on the front-panel along with authentic 1960TV grill cloth, gold piping and
gold-brushed Marshall logos on both the head and speaker cabinets.
Each amp is supplied with five Zakk Wylde plectrums, an exclusive
A3 poster and a handbook with a personal introduction and suggested
settings from Zakk.
MG15MSII Microstack
The MG15MSII Microstack is a complete Marshall stack that will fit
into any room. The amplifier is based around the MG15CDR and features
two channels, Spring Reverb and Marshall’s proprietary FDD
(frequency dependant damping) technology. Supplied with two 1x10"
speaker cabinets its looks and sounds great. The dream of owning a
Marshall stack has now become a reality!
Rockkit
All great guitar players have to start somewhere, and the Rockkit will get
you on the road to rock stardom. It’s an ideal starter package for any
aspiring guitarist. The package has everything you need to take you on
your journey from bedroom to stadium Rock. The package includes the
44
classic MG15CDR 15 Watt guitar combo which has 2 channels and
Reverb, a choice of guitars (Special or Deluxe), a Marshall gigbag,
guitar cable, Marshall strings, Marshall guitar strap, a bag of Marshall
picks and the MT-1 Marshall tuner.
Rockbox
All guitar players fantasise about playing in front of the iconic Marshall
script logo. Now the dream can come true thanks to our affordable
RockBox starter kit. Another perfect package for the beginner/
intermediate guitar player. The RockBox features our award-winning
MG15DFX which includes twin channels, controls for Clean Volume,
Overdrive Gain and Volume and built-in DFX (digital effects). It also
contains a tutorial DVD with 10 easy steps to help you learn your
favourite guitar licks in the quickest possible time. A Marshall MT-1 Tuner,
a guitar cable, Marshall strings, Marshall guitar strap and Marshall picks
complete this awesome package.
Marshall MT-1 Tuner
Designed with ease of use in mind the modern and compact Marshall
tuner is a must-have for the live gig or rehearsal room. The tuner is
suitable for both guitar and bass, tunes up to 5 semitones flat, supports
baritone, 7-string and dropped tunings, has a precision LCD needle
meter, an auto power off and a built-in mic for tuning acoustic guitars.
CONTENTS:
ACCESSORIES
ROCKKIT
ROCKBOX
MG15CDR Amplifier
MG15DFX Amplifier
Guitar (choice of two)
Tremolo Arm
Guitar Cable
Marshall Tuner
✓
No
✓
✓
✓
✓
No
✓
No
No
✓
✓
Marshall Strap
✓
✓
✓
✓
No
✓
✓
No
✓
✓
✓
✓
Marshall Picks
Marshall String Winder
Marshall Strings
Marshall Gigbag
Marshall Tutorial DVD
45
Rack Power-Amp Products
EL84 20/20 • EL34 50/50 • EL34 100/100
Phil Campbell
(Motorhead)
Jerry Horton
“It’s the rack from hell which needs earplugs.”
(Papa Roach)
“Marshall have always been the best . . .
and they still are.”
Nothing beats the musical roar of a British valve power
amp – and nothing roars with more tuneful power than a
Marshall.
Our expertise in making full use of the tonality offered by
valves has led to our valve-driven power amps becoming
revered by musicians the world over and as a result all
three models in our power amp range will breathe new
life back into the sound of your rack.
EL84 20/20 Valve Power Amp
For the player who wants portability coupled with great Marshall
valve tone, we offer the EL84 20/20. This compact, single space,
rack-mountable power amp packs 20 Watts + 20 Watts of Marshall
valve power. Its quartet of EL84 power valves offers impressive clean
headroom, in addition to the magnificent overdriven tones it exudes.
A unique Deep switch brings in state-of-the-art, resonance circuitry
which works with the speaker cabinet(s) being driven and results in a
tight, low-end boost which can’t be mimicked via pre-amp EQ. The unit’s
Presence control and Line Level outputs add further to the flexibility of
the EL84 20/20’s superb natural tone. Surprisingly loud, the fan-cooled
EL84 20/20 is ideal for both studio and live work where valve-driven,
harmonically rich tone is a must.
that each side (channel) of the stereo amplifier operates as a
completely independent unit.
Each channel features its own Gain and Presence controls and our
highly specialised ‘True Differential Inverter’ circuitry, ensures that the
maximum integrity and pureness of their valve tone is maintained at
all times.
Each channel also boasts a remotely switchable ‘Voice’ switch which
takes you from ‘traditional’ (Voice A) to ‘modern’ (Voice B) and will
allow you to cut through any mix. The EL34 50/50 and EL34 100/100
– professional, all-valve power amps that sound as good as they
look!
POWER AMP SPECIFICATION
FEATURES
Output (RMS)
Volume Control
Presence Control
Voicing Options
Remote Resonance Switching
Remote A/B Switching
Impedance Selection
Line Level Output
Link Output
Power Amp Valves
Pre-Drives
Phase Inverters
Footswitch (not supplied)
Dimensions (mm)
Weight (kg)
From top to bottom:
EL84 20/20
EL34 50/50
EL34 100/100
20 + 20 Watt
1 x Stereo
1 x Stereo
Resonance
✓
No
✓
✓
No
4 x EL84
1 x ECC82
2 x ECC83
PEDL-10008
(270mm Deep)
1U Rack
5
50 + 50 Watt
1 per Channel
1 per Channel
A/B
No
✓
✓
No
✓
4 x EL34
2 x ECC83
2 x ECC81
PEDL-10008
(330mm Deep)
3U Rack
19
100 + 100 Watt
1 per Channel
1 per Channel
A/B
No
✓
✓
No
✓
8 x EL34
2 x ECC83
2 x ECC81
PEDL-10008
(330mm Deep)
3U Rack
20.5
EL84 20/20
EL34 50/50
EL34 100/100
EL34 50/50 & EL34 100/100 Valve Power Amp
Marshall 50 Watt and 100 Watt, EL34-driven, valve power stages are,
in the minds of many, the ‘industry standard’. As soon as you hear
our EL34 50/50 (50 Watt + 50 Watt) and EL34 100/100 (100 Watt +
100 Watt) valve power amps, you will immediately understand why.
Both of these eye-catching units are packed to the brim with
Marshall valve tone. Just like expensive hi-fi amps, both the EL34
50/50 and EL34 100/100 are Dual MonoBloc amplifiers – meaning
46
47
Acoustic Amplifiers
AS50D Combo • AS100D Combo
Pierre Bensusan
“Above all I like the sound, which has never been
so close to the acoustic specs of my guitar. I love
the idea of bringing it to the gig or to a rehearsal
instead of my massive rack.”
Aziz Ibrahim
“Picture this, Me, my guitar, a wall of Marshall
AS100Ds. Oh yeah, and one very angry looking
front of house engineer. Heaven!”
New for 2007, Marshall is proud to present the AS50D.
Built upon the award winning AS50R, this superb amplifier
features a new tweeter, a phantom powered microphone
channel, digital chorus and reverb.
Phase switch and a frequency controllable Notch Filter. Another useful
AS50D feature is an internal Limiter which allows you to drive the
maximum level from the 50 Watt power stage, yet remain distortion free.
Neat and affordable, flexible and portable, the AS50D is ideal for the
acoustic musician who wants an amp which is perfectly suited to intimate
gigs.
When designing amplifiers for acoustic guitar, while many
of the functions and features may differ from their guitar
AS100D Combo
counterparts, the same appreciation of tone is essential, as
For the acoustic player who wants it all, we offer the comprehensively
featured and powerful AS100D – a 50 Watt + 50 Watt, 2x8" combo with
two high fidelity polymer dome tweeters. The AS100D has been
specially created for use with a variety of acoustic instruments and now
boasts new and improved speakers conceived by our design experts
in conjunction with Celestion. Between its four channels, this combo
has the flexibility to handle instruments with piezo transducers or
magnetic pick-ups, plus microphones, for both vocal and instrument
reproduction. For those using two pick-ups via a single stereo jack, the
two main Acoustic Channels (1 and 2) can be linked together via a
‘Link’ switch, affording you independent Volume and EQ controls for
each pick-up.
The other two channels are a dedicated Microphone (Ch.3) and an
Auxiliary (Ch.4), the latter of which has phono (RCA) stereo inputs
specifically for use with external audio equipment. The AS100D also
houses an internal limiter to ensure you can achieve maximum output
while your sound remains distortion free.
Even though the AS100D’s 50 Watt + 50 Watt stereo configuration offers
more than enough power for many typical acoustic music venues, a
stereo pair of balanced XLR DI Outs and Line Outs allow you to connect
directly to an external PA system for larger venues. When playing live,
one of the most difficult aspects of amplifying acoustic instruments is
unwanted feedback. To help eliminate this, the AS100D features several
anti-feedback controls. These include an individual Phase switch on
channels 1, 2 & 3 plus two frequency controllable Notch Filters with
selectable extra depth for channels 1 & 2.
The superb quality of the sixteen built-in, adjustable stereo digital effects
is listening to customer feedback. As a direct result,
innovative features, clear and natural tone plus stylish
looks are what our acoustic combos are all about.
The AS Series Acoustic Amplifiers allow you to express
your emotions with passion.
AS50D Combo
The AS50D is a 50 Watt combo housing 2x8" custom voiced speakers
and a single high fidelity soft polymer dome tweeter as used on the
AS100D, a combination which allows for clear and detailed sound
reproduction across the entire range. This compact and highly portable
combo features two channels, each of which has its own independent
volume and tone controls. A variety of inputs give the AS50D the ability to
handle all-comers: the high impedance input on Channel 1 is perfect for
piezo or magnetic pickups. Channel 2 boasts RCA phono inputs plus a
balanced phantom powered XLR type input in addition to its jack input,
making it the perfect host for voice, instrument or even backing track.
The AS50D also contains a high quality digital effects section featuring
an adjustable Chorus which is assignable to either or both channels. The
studio quality natural sounding digital Reverb and the parallel Effects
Loop can be balanced between the two channels.
One of the most difficult aspects of amplifying certain acoustic
instruments is feedback. Therefore, anti-feedback controls include a
48
(10 Reverbs, Delay, Chorus and more) adds an entirely new dimension
to the already wide range of sounds this professional combo has to
offer. Additionally, there is also a stereo Parallel Effects Loop, complete
with Level Control, on the rear panel.
Compact and portable, the stylish AS100D offers great flexibility and is
the ideal amplifier for the acoustic player who wants the highest quality
performance with absolutely natural tonal reproduction.
Right:
AS50D Combo
Bottom:
AS100D Combo
FEATURES
Output (RMS)
Channels
Volume Control (1 per channel)
Independent Tone Network per Channel
Microphone Input
Phase Switch
Phantom Power
Phono Inputs
Anti-Feedback Notch Filter
Digital FX
Master Volume
Digital Reverb
FX Loop
D.I. Outputs
Line Out
Polymer Dome Tweeter
Speakers
Dimensions (mm)
Weight (kg)
AS50D
AS100D
50 Watt
2
✓
✓
✓
✓
Ch.2
Ch.2
✓
✓
✓
✓
Mono
Mono
Mono
1
2 x 8”
550 x 415 x 255
16
100 Watt Stereo (50 Watt per side)
4
✓
Ch. 1, 2 & 3
Ch. 2 & 3
Ch. 1, 2 & 3
Ch. 2 & 3
Ch. 4
Ch. 1 & 2
✓
✓
✓
Stereo
Stereo Balanced
Stereo Unbalanced
2
2 x 8”(Celestion)
605 x 530 x 270
21
49
VBA Bass Amplifiers
VBA400 Head • VBC412 Cab • VBC810 Cab
Mani
(Primal Scream)
From left to right:
“Real trouser flapping power with great
tonal quality to boot!”
VBA400 Head
VBC412 Cab
VBA400 Head
VBC810 Cab
Stan
(Faithless)
“We are talking SEISMIC bass!”
When it comes to designing and producing valve
amplification, nobody does it better than Marshall. Hence
the logical extension to the Marshall range of valve
products to include a high-powered, professional valve rig
for the bass player. Valves bring with them a unique tone,
feel and response and these attributes are just as attractive
to bassists as they are to guitarists. The warm, deep tone
of our VBA bass rig, not only expands and enhances the
sound of your bass in the live situation, it also adds a
unique, 3-D quality to recordings. This stunning bass
set-up has won many converts since its introduction –
here’s an insight into what has made it so popular.
400 Watt Valve Bass Amp
The Marshall name, together with our famous scripted logo, has always
been synonymous with world-class, valve-driven tone. In keeping with
this tradition, our 400 Watt, all-valve VBA400 bass head is being hailed
by players and press alike as another true classic.
Designed with the serious bass player in mind and drawing from our
many years of valve ‘tone crafting’ experience, the VBA400 boasts a
staggering 8x6550 power valves, plus 3xECC83 and 1xECC82
pre-amp valves.
One of the main things that makes this amp special is the sheer vastness
of pure valve power on tap from the twelve valves it houses.
Consequently, we didn’t want to dilute any of this natural purity by
incorporating unnecessary features and controls. For this very reason,
only the essential front panel controls have been included.
This said, the VBA400’s 3-band passive EQ network for Bass, Middle
and Treble has been designed so that it offers you all the tonal
adjustment you’ll need. Furthermore, this tone network can be totally
changed by means of the 3-position Contour switch which reconfigures
the mid range as follows:
50
Contour Position 1 – drops the low mids and creates a rounder, fuller,
fat bottom end.
Contour Position 2 – boosts the mid range, giving greater edge and
aggression to your sound.
Contour Position 3 – moves the mid range higher than you would
normally expect on a bass amplifier. This adds an aggressive twang
while leaving the essential body of your tone intact, making it ideal for
percussive styles such as slap bass.
Further tone control is provided by Deep and Bright switches.
Engaging the Deep switch increases low-end thud without losing
definition while the Bright option adds extra high-end brilliance and bite
to your sound.
Other essential features include Active and Passive inputs, an XLR DI
Output, complete with switches for Earth (ground) Lift and pre/post EQ
selection, a Series FX Loop and a High/Low Fan Speed switch to
ensure the valves are kept at a safe operating temperature.
Another very practical ‘bassist friendly’ addition is a Tuner Mute facility
which, when activated, mutes the signal to both the loudspeakers and
the DI Output, enabling the user to tune ‘silently’ in the live situation –
providing a tuner is hooked up of course!
VBC412 & VBC810 Cabinets
Specially designed, heavy duty, matching cabinets for the VBA400 head
are available in 4x12" and 8x10" formats. Built as only Marshall knows
how, both feature separate sealed chambers (four in the VBC810 and
two in the VBC412) which help to prevent unwanted cabinet resonance
while adding to the structural integrity of the units. They are also lined
with sound absorbent wadding to further help dampen internal
resonance.
Both cabs are loaded with custom designed loudspeakers which have
been specially voiced to handle the power of the VBA400’s output while
giving you superb, professional performance. Both cabinets operate at
4 Ohms impedance and have been designed to perfectly complement
the VBA400. As the amplifier will accept a load of 2 Ohms, combinations
of the two cabinets can be used to create an awesome bass rig.
Clad in Marshall’s trademark, heavy duty
black vinyl, the 400 Watt VBC412 and 640
Watt VBC810 each boast roadworthy, high
grade fittings. The VBC810 also features a
recessed handle on the bottom for easy
lifting, castors and an aluminium kick plate for
easy tilt and roll capability plus aluminium
edge protectors.
VBA400
FEATURES
Active/Passive Inputs
Gain Control
3 Band Rotary EQ
3 Position Mid Contour
Deep Switch
Bright Switch
Master Volume
Tuner Output
Tuner Mute Switch
DI Pre/Post Switch
DI XLR with Earth Lift Switch
FX Send & Return
Fan Speed Selector
Impedance Select Switch
Output Valves
Pre-Amp Valves
Dimensions (mm)
Weight (kg)
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
8 x 6550
3 x ECC83 & 1 x ECC82
685 x 275 x 330
36
FEATURES
VBC412
VBC810
4 x 12”
400 Watt
Power Handling (RMS)
4 Ohm
Impedence
Dimensions (mm)
775 x 760 x 395
Weight (kg)
49
8 x 10”
640 Watt
4 Ohm
675 x 1260 x 425
72
51
MB Bass Series Amplifiers
MB15 Combo • MB30 Combo • MB60 Combo • MB150 Combo • MB4210 Combo
We are proud to introduce our latest bass series. The
range offers two channels throughout. The Classic channel
presents gain worthy of the greatest rock bass player and
heavy tone that is expected from a Marshall amp. The
Modern channel hits those super crystal clean notes when
clarity is a must. The higher wattage amplifiers contain an
ECC83 pre-amp valve on the Classic channel and all amps
have a Limiter to prevent the power amp from clipping.
Scoping the complete bass playing spectrum the MB Series
has an amp to suit the beginner, intermediate or
professional player.
MB60 Combo
The portable MB60 Watt, 1x12” combo packs a mighty bottom-end
punch making it ideal for the rehearsal room or the pub gig. Again the
combo has two channels (Modern and Classic) with separate EQ for
each. The Modern channel features Bass, Treble, parametric Mid and
switchable compressor with variable level control. The Classic channel
with its ECC83 pre-amp valve includes a Boost switch and has a
3-band passive tone network, featuring a mid Voice control with three
modes. Both channels will be selectable via the supplied single
footswitch.
Features: Series Effects Loop, balanced Line Out with switchable
modes (pre and post), External Speaker Output, Limiter, CD input and a
Headphones socket.
channels (Modern and Classic) with separate EQ for each. The Modern
channel features Bass, Treble, a parametric Mid and a switchable
compressor with variable level control. The Classic channel with its
ECC83 pre-amp valve includes a Boost switch and has a
3-band passive tone network. The MB4210 also lets you select a blend
of the two channels either from the front panel or via a supplied
two-way footswitch. The overall volume of the blend is adjustable in
addition to the balance between the two channels.
Features: Series Effects Loop, balanced Line Out with switchable
modes (pre and post), external jack and Speakon® speaker outputs,
CD input, Limiter, Master Volume and a Headphones socket.
FEATURES
Power (RMS) @ 8 Ohms
Limiter
DI Line Out
FX Loop
Footswitch
2 Channels
Compressor
ECC83 Pre-amp Valve
Boost Switch
Mid Voices
Dimensions (mm)
Weight (kg)
MB15
15 Watt
n/a
1 x 8”
✓
Emulated Jack
No
No
✓
✓
No
No
1
390 x 380 x 240
12
MB30
MB60
MB150
n/a
n/a
n/a
30 Watt
60 Watt
150 Watt
1 x 10”
1 x 12”
1 x 15”
✓
✓
✓
Emulated Jack XLR (Pre & Post) XLR (Pre & Post)
✓
✓
✓
1 Way (optional) 1 Way (included) 1 Way (included)
✓
✓
✓
✓
✓
✓
No
✓
✓
No
✓
✓
3
3
3
440 x 410 x 260 535 x 505 x 325 580 x 585 x 355
30
23
14.8
* with extension cabinet
MB150 Combo
MB15 Combo
At just 15 Watts, the MB15 combo punches well beyond its expected
weight. The 1x8” speaker packs the power warranting the Marshall
name, making this a perfect practice amp or smaller stage amplifier.
This compact workhorse has two channels, Modern and Classic, with a
shared 3-band passive tone network, featuring a mid Voice control. The
Modern channel has a switchable compressor with variable level control.
Features: Two channels, Emulated Line Out, Limiter, CD input and a
Headphones socket.
MB30 Combo
Next in the MB range is the 30 Watt, 1x10”combo. The MB30 takes the
budding bass player a step further to hitting the stage with aggression
and growl. Like the 15 Watt combo the MB30 has two channels
(Modern and Classic) with a shared 3-band passive tone network,
featuring a mid Voice control with three modes. The Modern channel has
a switchable compressor with variable level control. Both channels are
selectable via an optional single footswitch.
Features: Series Effects Loop, Emulated Line Out, Limiter, CD input,
Headphones socket and Footswitch socket.
52
With 150 Watts of sheer bass power behind it, the MB150 houses a
1x15” speaker that can only mean one thing – you mean business!
This combo in the series offers the tone and versatility required by any
professional bass player. Yet again, the combo has two channels
(Modern and Classic) with separate EQ for each. The Modern channel
features Bass, Treble, parametric Mid and a switchable compressor with
variable level control. The Classic channel with its ECC83 pre-amp valve
includes a Boost switch and has a 3-band passive tone network
featuring a mid Voice control with three modes. The channels are
selectable via the supplied single footswitch.
Features: Series Effects Loop, balanced Line Out with switchable modes
(pre and post), External Speaker Output, Limiter, CD input and a
Headphones socket.
Left to right:
MB15 Combo
MB60 Combo
MB30 Combo
MB150 Combo
MB4210 Combo
For those wanting to leave a lasting impression with, not only the
audience, but also fellow band members, our higher wattage combo’s
are just what the doctor ordered. The MB4210 will send booming
bottom-end signals thudding through the chest of everybody within a
200 yard radius! The 450 Watt, 2x10”, combo with HF horn has two
53
MB Bass Series Amplifiers
MB4410 Combo • MB450H Combo • MBC115/MBC410/MBC810 Ext Cabs
Left to right:
MB450H Head
MBC410 Ext Cab
MB4410 Combo
MBC4210 Combo
MBC115 Ext Cab
MB450H Head
MBC810 Ext Cab
As with all our products proudly wearing the Marshall badge,
quality and tone are of utmost importance to ensure our
amplifiers remain unrivalled within the music industry. The
Marshall R&D team have worked relentlessly in the design of
our new and most comprehensive bass range ever offered by
Marshall Amplification. We asked bass players what they
wanted and have catered to their demands with new features
and various speaker configurations within the combo’s and
speaker extension cabinets.
MB4410 Combo
The daddy of the combo’s has to be the MB4410. The 450 Watt houses
4x10" speakers and HF horn. Big enough to sound monstrous, yet
transportable enough to fit in the car, the combo booms with low
frequency bottom-end. The MB4410 features two channels (Modern and
Classic) including a separate EQ for each. Modern features include
Bass, Treble, parametric Mid and switchable compressor with variable
level control. The Classic channel with its ECC83 pre-amp valve includes
a Boost switch and has a 3-band passive tone network. Like the
MB4210, you can mix the two channels either from the front panel or
from the supplied two-way footswitch. The overall volume of the blend is
adjustable in addition to the balance between the two channels.
(pre and post), external jack and Speakon® speaker outputs, CD input,
Limiter, Master Volume and a Headphones socket.
MB450H Head
This powerhouse of a head wallops a massive 450 Watts of total bass
power when connected to two extension cabinets. All that’s left to do now
is choose your preferred choice of cabinets so you can plug in and rock!
The two channels (Modern and Classic) are both present, each with
separate EQ. Modern features Bass, Treble, parametric Mid and a
compressor. The Classic channel with its ECC83 pre-amp valve includes
a Boost switch and has a 3-band passive tone network with three
different voices. Like the higher wattage combo’s the MB450 has the
option of blending the two channels either from the front panel or via a
supplied two-way footswitch.
(pre and post), external jack and Speakon® speaker outputs, CD input,
Limiter, Master Volume and a Headphones socket. The Modern channel
has a switchable compressor with variable level control. The Classic
channel includes a Boost switch.
MBC115, MBC410, MBC810
After listening to bass players requirements, we made the decision to
give you options of the most favoured and asked after extension cabinets
to complement your bass head or combo. Firstly, the MBC115 is a
300 Watt, 4 Ohm bass cabinet.
Sturdily built and more than ready for life on the road, this speaker cab
contains one 15" speaker with an HF horn. Next in the line is the
ever-popular 4x10"cabinet. Containing four colossal sounding
10"speakers, you are guaranteed to get clear low-end tones roaring through
the club. This 600 Watt, 4 Ohm speaker cabinet has an HF horn.
The bigger brother of the 4x10", the MBC810, not only sounds the part,
it also looks the part. The mighty 1200 Watt, 4 Ohm beast contains
8x10"speakers with an HF horn.
FEATURES
MBC115
Bass Reflex
Cabinet Type
1 x 15"
HF Horn
✓
HF Horn Switch
✓
Impedance
4 Ohms
Power (RMS)
300 Watt
600 Watt
Power (Program)
® Connector
1
Speakon
1
Jack Connector
Dimensions (mm)
630 x 635 x 410
Weight (kg)
32
MBC410
MBC810
Bass Reflex
4 x 10"
✓
✓
4 Ohms
600 Watt
1200 Watt
1
1
630 x 720 x 410
42.5
Bass Reflex
8 x 10"
✓
✓
4 Ohms
1200 Watt
2400 Watt
1
1
630 x 1250 x 410
70
FEATURES
MB4210
MB4410
MB450H
300 Watt
450 Watt*
2 x 10"
✓
300 Watt
450 Watt*
4 x 10"
✓
300 Watt
450 Watt
HF Horn
Speakon Connector
®
2
2
n/a
n/a
2
Jack Speaker Connector
2
2
2
Limiter
✓
✓
✓
DI Line Out
XLR (Pre & Post)
XLR (Pre & Post)
XLR (Pre & Post)
FX Loop
✓
2 Way (included)
✓
✓
✓
✓
✓
3
✓
630 x 535 x 280
33
✓
2 Way (included)
✓
✓
✓
✓
✓
3
✓
630 x 720 x 410
51
✓
2 Way (included)
✓
✓
✓
✓
✓
3
✓
630 x 220 x 235
15
Footswitch
2 Channels
Blend Control
Compressor
ECC83 Pre-amp Valve
Boost Switch
Mid Voices
Master Volume
Dimensions (mm)
Weight (kg)
* with extension cabinet
54
55
MS-2 & MS-4 Amplifiers
MS-2 Micro Amp • MS-4 Micro Amp
From left to right:
MS-2R Micro Amp
MS-2C Micro Amp
MS-2 Micro Amp
MS-4 Micro Amp
If you can’t leave your beloved Marshall at home, the
portable Micro stack will be right up your street! You can
now roam wherever you like without having to sacrifice
your Marshall tone. It’s perfect to clip to your belt or for
writing new material in the back of the tour bus.
Available in traditional black, vintage chequerboard and
red, the Micro Amp is also available as a full stack – You
will be amazed by the might of these Micro Marshalls!
and Overdrive modes. A single Tone control provides full focus of bass to
treble. For those players for whom a full stack is a must we’ve introduced
the MS-4 with separate Gain control. A full stack in miniature form
standing at 25cm x 11cm x 6cm.
Both the MS-2 and MS-4 have headphone output for those who want to
rock in private. This output can also be used to drive an external power
amp when your rambling is done.
The MS-4 is finished in traditional Marshall black, with white logo and
gold panel, while the MS-2 is available in three cosmetically different
versions: the standard MS-2, the MS-2R, and the MS-2C. The standard
MS-2 is finished in traditional Marshall black, with white logo and gold
MS-2 & MS-4 Micro Amps
panel. The MS-2R has the same features but is finished in striking red.
The MS-2 is the ultimate in portable battery/mains operated micro
The MS-2C, or classic, features full vintage styling including chequered
amps, packing full Marshall tone into a tiny case measuring just
fret cloth and gold Marshall logo – a combination of classic Marshall tone
14cm x 11cm x 6cm. This mighty micro Marshall has switchable Clean
with vintage Marshall elegance.
56
Photos: Rob Wyatt: Jim Marshall & Victoria Marshall, Kerry King (pages 24/25). Alyson Blanchard: Doug Aldrich, Paul Mahon. Dave Maud: Gary Moore, Zakk Wylde, Larry Hibbitt, Charlotte Hatherley, Mani.
Al Pulford: Bernie Marsden, Matt Heafy, Corey Beaulieu, William J Brown, Stan. Mickey Rose: Dave Navarro, Sean Martin, Dan Fisher, Jimi Goodwin, Simon Neil. Wilson Lindsey: Jimmy Hendrix.
John Harrell: Warren Haynes. Bob Thacker: Dan Hawkins, Phil Campbell, Steve Harris. Darren Young: John 5. www.lisahuey.com: Philip Sneed. Susan Barry: Bruce Kulick. Devin DeHaven: Jerry Horton.
Jay Blakesberg: Steve Mazur. Dan Griffiths: Kerry King (pages 34/35), Aziz Ibrahim. Keith Smith: Mike Mushok. Nick Bowcott: Jeff Hanneman. Tokio Uchida: Pierre Bensusan.

07 catalogue - Deejayladen

Transcription

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